WARNING: there are no plot spoilers, but this post contains a spoiler about the structure of some of these books. If you're not comfortable with that, hit the back arrow. If you are, read on…

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Several of the books I read for Bingo have this in common: they use multiple points of view happening at multiple points in time to tell their stories. There have already been a lot of reviews of these books, so I thought I'd do something different and discuss them all together, concentrating on that particular aspect.

The four books are N. K. Jemisin's The Fifth Season (book 1 of the Broken Earth trilogy), Emily St. John Mandel's Station Eleven, Annalee Newitz's The Future of Another Timeline and Adrian Tchaikovsky's Children of Ruin (the sequel to Children of Time).

In The Fifth Season, time is as fractured as the landscape. We have three POV characters: Essun, Damaya and Syenite. At first it's not clear what is happening when, but as the book progresses it becomes obvious that the three parts of the story are taking place at different times. Eventually, we see how the three are connected: separate shards of story that reflect a central narrative, each from a different angle.

Jemisin handles this brilliantly. She doesn't make a big deal about it. The hints are there, but it's the reader that has to do the work. It's extremely satisfying to piece it together.

Everything from each narrative thread feels pertinent; nothing is out of place or extraneous. The tension between the different threads - and the way they eventually converge - is captivating.

The Fifth Season is very much volume one of a larger work, rather than a standalone with sequels; we don't get everything tied up neatly in a bow. The end of the book is more like an indrawn breath of anticipation than a satisfied sigh. But that's just in terms of the plot. There's another arc: the structure. And the payoff is excellent.

I expect it's better to read the whole trilogy back to back, and if I wasn't doing Bingo I would have moved on to the second book in the series immediately.

Emily St. John Mandel's apocalypse novel Station Eleven has five viewpoint characters - Jeevan, Arthur, Clark, Kirsten and Miranda - and we dip into various times in the lives of each one. The narrative passes from person to person like a virus, and it oscillates back and forth a

I'm new to this subreddit and couldn't find a post directly dealing with this, but please feel free to link me to any older posts if I missed them.

I'm interested in people's thoughts on effective execution of nonlinear fiction, in particular, ones that are significantly out of order (rather than just including flashbacks or a frame but otherwise being linear).

I'm a bit of a "pantser" when I write usually, but I'm currently trying to tackle a fantasy novel that's nonlinear to an extreme, and I'm finding myself being forced to finally learn how to outline - and also decide how to fit this to a narrative arc.

There's a frame which is linear but only makes up a smaller portion of the content (and takes place over a very limited timeline), and the rest of the story is the life story of the main character, first told in a series of memories-by-association, then actively told as stories to another character, with some dreams and other people's stories mixed in. All of it should be out of chronological order, driven more by what it communicates than when it happens. It's meant to create a sense of discovery and multiple layers of reveal.

I know the obvious is "just outline scene by scene and then write" but as someone who has ALWAYS intuitively decided the next scene as I write rather than plotting it ahead of time, any attempts to outline get thrown out completely as soon as I reach the next chapter, no matter how hard I try.

The reason I keep getting stuck is that I am quickly realizing I can't figure out how to make "decisions" about which scene to present next, when I technically have the entire life and timeline of the character at my fingertips. Normally in linear story telling, while you can compress or skip time, you generally know you have to write something that "happens next" to get to the next main plot point. In this case, I can choose anything. If I know the next scene needs to 1. introduce a character and their relationship 2. inform the reader about a world element and 3. feel connected to an idea presented in the frame I *still* have many choices. Do I go to the beginning of the relationship and a childhood memory that only hints at the world element? A sweet spot in the middle that actively explains it but might sound infodumpy? A latter point where things go south? And so on. For every decision I'm making.

The story is meant to be a slow burn "reveal" in some ways, so many things get set up that aren't resolved for a long time, and if

From the organization website:

>Send us your hypertexts, your nonlinear narratives, your videopoems, your illustrated stories! Surprise us with genres and media we hadn’t even imagined!
>
>- First, second, and third place prizes will be awarded of $300, $200, and $100.  The First Place Prize is dedicated to Deanna Tulley, for her support and encouragement of educators and everyone working with words.
>
>- See recent multimedia work we’ve published, including last year’s contest finalists, here.
>
>- Final Judge for 2020 will be Shin Yu Pai.  Watch her new work “Embarkation,” in collaboration with Scott Keva James, here.
>
>- All submitted work will be considered for online publication.
>
>- We are a literary magazine, so we’re interested in the words: narrative or poetic elements should be prominent, in either text or spoken word.

Contest details

• Sponsor: Slippery Elm Literary Journal
• Category: Multimedia, including hypertexts, nonlinear narratives, videopoems, and illustrated stories
• Submission length: No length specified
• Entry fee: $10
• Awards: $300 and online publication

Guidelines and submission information

This contest has been vetted and approved by Winning Writers

Just reached my first dead end on the top left hand side after hacking a computer. Now I'm being prompted to hop around to previous somnium points to explore other narrative branches.

My question is: is there an in-universe explanation for this like there was in the zero escape trilogy? I always appreciated the way the game design and mechanics seemed seamlessly integrated with the narrative, and I'll be pretty disappointed if that's not the case here.

I'm looking for movies that don't follow a traditional linear or chronological narrative storyline like Memento, Mullholland Drive, and Pulp Fiction.

I mostly like dramas/thrillers/dark comedies, but any suggestions welcome. Thanks!

Please recommend some non-horror Korean movies that were written in nonlinear narrative structure.

I am also open to movies from Japanese, China, Thailand, Taiwanese, India, and other Asian countries; if you have any recommendation.

Example of nonlinear narrative Asian movies are Kmovie Genome Hazard, Kmovie Hill of Freedom, and Jmovie http://asianwiki.com/Love_Letter_(1995-Japan)

The theory that William and Logan's narrative actually occurs in the past has been called the "two timeline theory", which is misleading because "two timelines" implies two separate, alternate timelines, aka Back to the Future. That's NOT what this theory is, so let's not call it the "two timeline theory". Just makes everything even more confusing. What the theory boils down to is that the WestWorld story is being told as a nonlinear narrative, albeit without ever explicitly telling the viewer that this is so (or are they? :). On the one had we have scene editing which strongly suggests that it's all happening in the present timeline (without ever providing 100% irrefutable evidence), while on the other hand we're given clues that the William storyline is happening in the past.

Here's the definition of nonlinear narrative from Wikipedia: "Nonlinear narrative, disjointed narrative or disrupted narrative is a narrative technique, sometimes used in literature, film, hypertext websites and other narratives, where events are portrayed, for example out of chronological order, or in other ways where the narrative does not follow the direct causality pattern of the events featured, such as parallel distinctive plot lines, dream immersions or narrating another story inside the main plot-line. It is often used to mimic the structure and recall of human memory, but has been applied for other reasons as well."

I, for one, really had my doubts after the last two episodes that what we have is a nonlinear narrative, but after E06 I'm fully back on board. We've now been given the old logo in several scenes that peered into the past of the park: Ford's flashback of the researchers that had the old logo on their coats; the logo on the wall of the floor housing the out-of-commission hosts; and now the logo on the screen of old computer Bernard boots up. I reject that these are just bloopers or that WW has two different logos in the present. These scenes firmly tie the old logo to the park's past. The other time we see the logo is when William arrives at the park. It's the old logo, because, wait for it, William's story occurs in the past. And that's why we have a nonlinear narrative being told in the show of WestWorld.

In my mind these 3 pictures end the debate: http://imgur.com/a/aNtbK

Edit: grammar, spelling.

Here is my master theory made up of bits and pieces of other theories that have been up on this subreddit. I don't think its perfect so feel free to pick it apart (like you weren't already going to), and let me know if you think it is slightly off base or, as the President-elect would interject, WRONG

note: the following is tinfoil and does not include supporting evidence

1. Bernard is made in Arnold's image and with his backstory

2. We are seeing at least 3 points in time

   • The scenes with Arnold (Bernard) talking to Dolores about consciousness and talking to his wife (~35 years ago - soon before Arnold dies)

   • William / Logan where Arnold is already dead (~30 years ago - when the "incident" happened)

   • The "current" storyline with the MIB / corporate drama

3. Arnold lost his son (as seen in the Bernard flashback) which drove him to bury himself in the park and start befriending the Hosts/seeing them as human

4. MIB has never met Ford, but did meet Arnold when Arnold's son was dying at his foundation.

   • That is why MIB is a VIP, both for his foundation's help and as "hush money" should he encounter one of the deceased (Arnold or his son)

   • Before his death, Arnold told MIB that he left something in the park for him and MIB has been trying to find it

5. After his son died, Arnold tried to get Dolores to discover consciousness so that he could build himself a conscious son. This aggravated Ford, and, knowing that Ford would not hesitate to kill him to remain in control of the park and the Hosts, Arnold took a few steps:

   a) He set up a maze (I don't think it is actually a physical maze, but some kind of programming/tests) to help the Hosts break out of their stories and become conscious

   b) He put some sort of directions in the existing bots in their "core code" (within the "firewalled" part)

   c) He downloaded his consciousness and began building Bernard in his image so that he could live on

6a) Once Bernard was built, Arnold transferred a copy of his personality to it and then killed himself (to be with his son?)

6b) Ford went through with his plan to have Arnold killed (at the hands of Dolores I presume) and when Ford discovered the Bernard backup he changed some settings (eg loyalty up, meekness up, etc) and kept him around the park as his new assistant

- Both of these assume that few to no park employees know what Arnold looked like or Bernard wasn't activated until turnover prevented recognition of him

7. A few years af

My top 10 would be:

1. Pulp Fiction (1994)

2. The Usual Suspects (1995)

3. Memento (2000)

4. The Prestige (2006)

5. Reservoir Dogs (1992)

6. Batman Begins (2005)

7. Kill Bill (2003)

8. Pink Floyd The Wall (1982)

9. Magnolia (1999)

10. Mr. Nobody (2009)

It seems that two literary devices are completely dominating the art of story telling: nonlinear narrative and plot twists. Though it can be a creative way to tell a story... this trend seems to have gotten out of hand. Most notably in works by Pahlanuik. Film/tv shows are also big on this (though I'm not sure if it's okay to discuss that in r/books).

I'm not the first to notice this, but I would like to hear from others on whether or not this is cheap storytelling or crafty/creative. Suspense saved for the last few paragraphs of a chapter is also another tactic I would like to hear your opinions on.

Bonus: if anyone can provide essays on these topics, that would be great (along with your opinions!).

Not sure if this is the right place to post this but I have been struggling to find information on nonlinear narratives (flashbacks, non-sequential unfolding etc).

If anyone could direct me to some sources I could use and cite I would be much appreciative.

You know like Interstellar or David Mitchell's Cloud Atlas.

Hi all. I recently finished watching season 2 of Westworld, and while I'm still deciding what I think about it I was reminded that one of the things I've always appreciated about the show is the complexity of the nonlinear narrative. So, I'm looking for more.

What I'd like: Books especially, but also movies and TV shows, with nonlinear, interwoven, or otherwise complex narratives. Either fantasy or SF is fine. Bonus points for female protagonists and/or LGBTQ+ characters, but my priority right now is plot. Extra bonus points for female authors/writers/directors, but again, not a requirement. Super extra bonus points for book suggestions a bit off the beaten path. I've been reading spec fic for a while now, so odds are if it's one of the Top X recommended series in the sub I've either read it or I've tried it and decided it wasn't for me (*cough* Malazan *cough*)

Thanks for your help!

--edited to add because of comments -- Warning, 10 minute read. No tldr. Use your brain. There is a conclusion at the end, but some people wanted a tldr. Also, i wrote this 2 years ago. So yes, we just had the 7 year anniversary of monero, not the 5th. And randomx has been on the network for almost 2 years now. ----

I originally wrote this and posted it on https://moneroworld.com/whymonero.html , but obviously no one reads that.

so, thought I would put it out here.

Why monero?

You may be coming across this article as someone new to cryptocurrencies because of some recent bull run in bitcoin, and you are one of those folks that think you've missed the bitcoin wave so you want to try and find another coin that might also rocket to the moon. Or, you've been following Monero for a long time but have never got in for whatever reason, and getting in can mean either buying a nice bag or getting the software and actually using it. Or, you've researched Bitcoin and see the flaws that exist and you're wondering what project has actively addressed these flaws.

I know I shouldn't write a piece that tries to shill Monero to you, but why not? I think Monero is the best thing out there, and I almost feel it a disservice that our community can't communicate the awesomeness of Monero effectively, and people end up "investing" in other altcoins because those coins have louder voices. So, I will add my voice to the noise.

First and foremost, I should probably expound the larger issue at hand - the global schema of my thoughts - my interpretation of our human experience. I believe that humanity is destined for greatness, and that our consciousness provides us faculty that is unprecedented in the web of life. The life force, be whatever it may, has granted us these abilities so that we can Do Our Part in the great expansion of life. Humanity is steward of life as we know it; thus we have the ability to write the story of how this strange notion of life grows throughout the cosmos. Now I don't know where I've gotten this notion - probably some strange whispering manifestation of Mother Culture. If you think we are just meatpuppets put here to eat, shit, and reproduce... well, i guess monero might give you the chance to do more of that in a more fancy way if monero moons to the lambo world. But me, personally... I think cryptocurrency is revolutionary and will change the course of humanity.

Before diving into "why Monero", I should probably first dive into "why crypt

Many people say games today are too 'simple' and 'linear', and this is the sentiment I always completely disagreed with. I feel the opposite is true. Recent games have become wider, nonlinear, and more complex, but lack depths.

Either out of trend or publisher's influence, it seems a lot of AAA blockbusters attempt to reach every genre possible for the mass market appeal. What happens is the game becomes a jack of all trades that hits the design checklist but master of none.

Openworld? Check. Skill trees? Check. Stealth? Check. Scavenging? Check. Crafting? Check. Sidequests? Check. Metroidvania element? Check. The problem here is that they want to eat every piece of a pie, shoving every single game design choice without any thought put into their implementation until the game becomes muddled and messy. They want to encapsulate everything that is popular in the market with little care whether the feature reinforces core gameplay or fits the theme. The developers used to start the development with an aim to create a certain experience and designed the features and systems from there to fit that goal. Now, it feels like they already have a design template and then imagined a vision around that template. Time and resources spread thin across the game instead of pouring efforts into a singular, consistent vision. The game feels big, complex, large, but shallow.

The first games I noticed this trend were Tomb Raider reboot and Far Cry 3, both had a clear narrative vision yet the gameplay constantly undermined that experience. The games want to tell a gritty survival story of how an innocent, normal, ordinary protagonist transforms into a hardened guerilla fighter. The story demands to be taken seriously so much that they hamfist "this game is about SURVIVAL Y'all" message in every corner of the cutscenes, but as soon as the gameplay begins, it is like a fun island theme park with guns and explosions. Tomb Raider is especially egregious. You see a genuinely shocking cutscene with incredible acting from the actress with a strong rape implication. Indicating this is Lara using the gun for the first time, showing how she clumsily handles it and her emotional mental breakdown on the screen. It is a powerful cinematic... A second later, you get pop-up messages about "YOU EARNED THE EXP AND THE HANDGUN", then less than a minute later, you immediately mow down dozen of armed men in a bullet-time with little to no sweat. It is l

21 slash recs from 21 years

Happy Friday! I made a new list and reviews!

AO3 Collection with the fics

This time I picked the best fic posted in each year from 2001-2021 based on what I read. Definitely not any objective ranking! We are spoiled for choice with heaps of great fics, so it's really impossible to pick a best fic by any metric. I broke the ties based on my subjective opinion. The criteria I used to select - each fic meant something to me at a fundamental level, I read it multiple times and I think about it frequently.

Since older fics often got posted on LJ or Geocities, I gave it my best effort and tried to go with the archiving dates on public websites as much as possible. Sorry about any mistakes on posting dates!

 

WARNING: This is one of those long-ass posts

Ooooh boy. I'm probably going to rustle some jimmies over here with this. I am currently done with finals at my school, and so I want to use this free time to materialize some of my thoughts that were running in my head for over the course of a few weeks. Me and u/fattycokecoffee are currently working on a Sinu Han, Samuel Seo, and Johan Seong analysis as well, so stay on the lookout for that. A lot of the format in this analysis is inspired by u/fattycokecoffee, so thanks to him for that. It would be cool if every main Lookism character was explored in detail like this.

It seems that the community's opinion on Jiho is very mixed. A great deal of people on the sub hate him with passion, while others (including myself) have grown to like him as an antagonist because of his newly-gained competence and conviction (or maybe cause he's kinda cute now ngl). I'll sort of explain where I come from, since I do think my take on him is somewhat biased. When I started reading Lookism, I started to kinda get bored after the Stalker arc, so I skimmed through the chapter list to see if there were any arcs that piqued my interest. And ngl, seeing "Juvenile Prison" already got me hooked. I was surprised to see Jiho of all characters end up in prison, and seeing his devolvement into a demonic cesspool did leave a distaste in my mouth initially. I then read the Fake Bank account arc, and finally understood how Jiho got into this mess, but wasn't pissed and angry as everyone cause I knew ahead of time that karma hit Jiho hard. I knew Jiho was going to be an important character, and was excited to see where they would take his character. Then the second prison arc came out, and reaffirmed my belief that Jiho is one of my favorite characters. I re-read the arcs that especially included Without further ado, let's get on with the analysis.

We are first introduced to Jiho as another runt of society: Someone who keeps getting bullied and looked down by others not necessarily because he's ugly, but because he's weak and the bullies can get away with it. He easily sympathizes with fat Daniel and Duke as they eat lunch together. Daniel, in his perfect body specifically tries to bond with Jiho with intention of making him feel confident and accepted. But we see a realistic flaw within Jiho from the get-go: He'll take anything he can get out of desperation, even if it's not morally right. When Doo gives Jiho the option to beat fat D

The Last House on Needless Street by Catriona Ward is a weird, sprawling tale of trauma, abuse, neglect, isolation, and tragedy that keeps you guessing as to what’s really happening. A cast of unreliable narrators muddies the waters of a nonlinear timeline, shedding constant doubt upon the reality and sanity of the residents of the house on Needless Street, a quiet lane bordering the forest in Washington state.

A troubled man named Ted lives in a dilapidated house with his daughter (Lauren) and his cat (Olivia), but things don’t seem quite right, and the sense of wrongness intensifies throughout the book, not just with them, but with the flashbacks of Ted’s mother, his budget psychiatrist, his failed attempts at online dating…

Things get even more troubling when a woman named Dee arrives in the neighborhood, searching for answers about her little sister’s disappearance at a nearby lake some years ago. Is Ted the kidnapper? Is Lauren really Dee’s missing sister, Laura? Does someone outside the house mean its residents harm, or is it someone inside? Is the source of the weird discontinuities in the house supernatural, or psychological?

I found myself constantly swinging between feeling sorry for Needless Street’s residents, despising and suspecting different characters of wrongdoing, admiring them for their perseverance in the face of adversity, thinking I had answers, and feeling like there was something I wasn’t quite grasping. A slow burn with gothic undertones steeped in uneasiness and squalor, The Last House on Needless Street is an oppressive mystery that, despite all its darkness and confusion, arrives a hopeful and satisfactory ending and rewards an attentive reader.

Audiobook narrator Christopher Ragland does an admirable job of giving each of the characters a distinct voice, energy, and personality.

Audiobook duration: 11h30m

Hardcover: 352 pages

This book comes out in the US on September 28, 2021.

Thank you to Macmillan Audio for the NetGalley ARC.

Thanks for reading my review! Here’s a link to it on Goodreads.

My favorite stories to read and my favorite stories to tell about, to use a perhaps overused quote, is "the human heart in conflict with itself." I like my heart to be captured, to ride the highs and lows of an immersive story that challenges me beyond the thrill of combat, and more than that, I like to tell epic stories. But to be Hercules isn't to be granted with just super strength, it is to endure the labors and the painful loss of those you love, to be conquered and humiliated but yet refusing to let it overcome you. Perhaps more daring, is to be faced with assumption that you won't be a hero. In a world of infinite choices, the choices that you do make reveals a lot about your inner self. A firm belief of mine is that you cannot have an epic story without epic challenges and narratives that makes you not only question your character's beliefs but also your own. I am a fan of the zero to hero mantra, but I am of the belief that the process should not feels like an assumption and one instead full of precarious pitfalls, damned temptations, and the most important element of all - a choice against all the odds. It is with your hands that you will carve yourself a niche in the world, and I am the merely the Homer to your Odyssey.

I am looking for a group of players that want to delve into a world drenched in mysteries where what you know and what you don't can make or break your ambitions, that have a desire for nonlinear challenges, that have an enjoyment for discovering not only lore but unique cultural phenomenons found in the setting, and that have a self-driven nature to grab onto life rather than let life drag you entirely. These words mimic the attitude that I approach to the themes of the campaign. Where great levity, light, and softness will be intermingled with great sorrow, darkness, and cruel mistresses.

The setting itself will be set in my own unique homebrew world where the campaign will be focused on a region that is inspired heavily by southeast Asian cultures, specifically Vietnam, and the fantasy created nation of Hanoi relies on a premise that asks a hypothetical scenario of, "What if the Trung Sisters won, permanently, against China?" Intermixed with ancient magic, lurking primordials, and the typical fantasy fare like dragons and funny looking humans with long ears, of course. As you may expect, I do not strive for a 1:1 realism to our own real life history (as a true answer to that hypothetical scenario is impossible to deduce)

Hey everyone I hope this is the right Sub for this.

I have a question about nomenclature of a storytelling device / style. How do you call it when a certain event is taking place and the reader gets to experience it a few times from different (character) perspectives and pieces together the story bit by bit? I dont necessarily mean that multiple characters narrate an event from their own perspective (a la Rashomon) or nonlinear storytelling although these might be related / subcategories.

Hope someone can help and maybe even point me towards stories that work in a similar manner.

Previous Posts

Here’s a link to the first post with the first set of 20 games.

Here’s a link to the second post with the second set of 20 games.

The comments in the first linked post above also contain more upcoming indie/AA recommendations, some with links to the Steam page. In particular, I want to highlight comments made by three users who all listed 5+ games with links to each game’s respective Steam page: /u/RespawnTT’s list, /u/Venomousx’s list, and /u/dust-‘s list. I’d also like to highlight /u/NotAcoD’s list of 25 games from the second linked post.

Note: Since Sony’s most recent State of Play was only a few days ago, I’m not going to put any indie/AA games from that presentation on this list, since they’re fresh in most peoples’ minds. This includes Kena: Bridge of Spirits, Oddworld: Soulstorm, and Five Nights at Freddy’s: Security Breach (Solar Ash was listed in the first post).

Introduction

With so many games releasing nowadays, I think it's easy for the good ones to get lost in the shuffle. I'm going to list another 20 highly anticipated Indie/AA games. I'm sure there's many great ones I'll probably miss (like I said, there's so many it's hard to keep track sometimes), so please let me know what other ones I should look out for. I’m going to order them by release date. If the game does not have a tangible release date, I’ll place it in the list based on what I think is more likely to come out first, based on marketing material and release date delays.

1. Everhood

• Picture: Link

• Trailer: Link

• Steam Page: Link

• Release Date: March 4, 2021

• Genre: Rhythm/RPG Hybrid

• Multiplayer: None

• Description: Everhood’s blend of rhythm and RPG mechanics is an unconventional mix, and the trailer for the game makes the styles seem like a natural fit. The game promises 5-6

Hello, and welcome to the Top 10. If you're new to the series, I'm ranking all Super Paper Mario levels for fun, and to take a look back at this great but flawed game. Rank #32 contains more information about the project, and all posts prior to the Top 10 are linked below. Now, onto #10!

————————————————————————————————————————

>After repelling O'Chunks, Mario and Co. followed the Floro Sapiens underground...
>
>Was the hideout of the Floro Sapiens just up ahead.
>
>"Wow, it's dark! And narrow!" "Hey, who just kicked me?!" "Sorry. All me."
>
>Our heroes followed the long, dark corridor, listening to echoes of their own voices.
>
>As they groped their way along, the light at the end of the tunnel grew brighter...
>
>They had finally arrived at the inner sanctums of the Floro Sapiens...
>
>The Cragnons kidnapped from Downtown of Crag had to be around somewhere...

The reason this level is in the Top 10.

Chapter 5-3: A Crag in the Dark

Flint Cragley. This character is the first thing you run into, starting Chapter 5-3 with a strong first impression. He is similar in ways to Kolorado or Flavio of previous games, but his role as a celebrity actor puts a unique twist on the archetype. He puts on an exaggerated performance and constantly narrates his own life as a rehearsal for his show, embellishing events and taking credit for everything to make himself look better. When he's not acting, however, his narration of fictitious heroism is replaced with a serious, egotistical attitude. He has a hilarious lack of self-awareness and seems to care more about himself than his fellow Cragnons, and despite portraying himself as a courageous adventurer, he finds any excuse to shy away from danger.

However, Flint isn't the only star of the show here (no pun intended) — his camera crew Hornfels and Monzo play the straight man to Flint's comical antics, and their dynamic is brilliant. Flint is clearly the more civilized and articulate of the bunch, yet his crew is often smarter than he is, which leads to both Flint and his crew growing tired of each other's idiocy. Flint claims his crew has the key that leads deeper into the cave, but they later remind him that the k

Generally the situation is stranger than fiction

It's even stranger than some narratives that contain nonlinear timelines for example.

Nonlinear timelines always had a purpose: to increase the drama in a story that may be emotional, but wouldn’t be a page turner if told the traditional way, to build tension and suspense by keeping readers on their toes, to emphasize a story’s theme, to flesh out the plot or to stagger pacing so that it has the best effect on the story's' overall momentum.

Quentin Tarantino's 1992 Reservoir Dogs is one good example of nonlinear storytelling.

These timelines often allow for a greater surprise ending, either leading to an exciting reader aha or moving readers to awe or tears.

They can also offer a thematic or conceptual bait and switch, forcing readers to face their prejudices/biases without warning, and thus reconsider their assumptions about the world or the stereotypes they buy into.

It creates the most intrigue.

By disorienting the reader, a nonlinear structure creates a puzzle that requires more engagement with the individual pieces of the story.

When we talk about Kris and Lisanne, We're not talking about fictional storytelling however, this was a real life situation that involved the suspicious deaths of 2 young women hiking along the Pianista trail.

Why it's suspicious is because after taking photo 508, they would have likely ventured further along the trail, 3 kilometres to the end of it. However there is an abrupt discontinuation of photography.

There aren't very genuine reasons for this either, generally the SX270 is quite a robust and reliable camera. Not only was photo 509 missing, it's likely many other photos were removed from the SD card as well.

The Pianista trail is unlikely to be a location that contained the relevant geological conditions contained within the night photos. There is only one path, no one leaves the path into dense jungle vegetation.

This is consistent with the video taken by Kris's parents along the Pianista, answers for Kris. They too come up with the same conclusion.

"It's one path, you cannot fall off it anywhere"

"Why didn't they make a photo here?"

"When it's getting late, you turn around and walk back"

The dutch investigators believe in

Hi. My name is unpronounceable, and in celebration of Super Paper Mario's 14th anniversary today, I will be starting a series of posts ranking each of Super Paper Mario's 32 levels from worst to best. I will be using the same format as u/ToadBrigade5's Paper Mario chapter rankings, which were the main inspiration for this project. A few months ago, I scoured the Internet to see if anyone had ranked these levels and found nothing, so I decided to do it myself. (Then someone did the exact same thing in a video a couple months later, which I found kinda funny.) It's fun to reminisce about what made this game so great, and discuss the flaws that dragged it down, so that's what I intend to do.

Just to be clear, when I refer to a "chapter", those are the eight sections that make up the game, and when I refer to a "level", those are the four sections that make up each chapter. For example, the level I'm ranking today is my least favorite, but the chapter as a whole is great. I'd also like to clarify that this is just my opinion. I'd like to hear your opinions as well, but keep it civil. Lastly, this series will contain spoilers from throughout this 14-year-old game. Without further ado, here's my least favorite level of Super Paper Mario.

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>Our heroes had found their way out of the dark and confusion of The Underwhere.
>
>Mario and friends now saw the sun shining brightly against a beautiful blue sky.
>
>This was the sky paradise Grambi called home, a place of joy called The Overthere.
>
>Somewhere above the never-ending layers of clouds waited Grambi himself.
>
>Mario and his friends began to make their way up that fluffy road to above...

Not as heavenly as it looks.

Chapter 7-3: The Forbidden Apple

I'll be honest, I have quite a bit of nostalgia bias in favor of this game. I'll try to stay objective in these write-ups, but suffice to say, it pains me to put any level at the bottom spot. Even though there are plenty of immensely flawed levels, each one has a lot going for it as well. Unfortunately, I find Chapter 7-3 to be the least redeemable, making it the chapter most fitting for Rank #32 in my eyes.

There are many reasons I love

This is will be my first ever fic I’ve ever written, so I’m completely new. Please forgive me for my lack of knowledge on this.

I’m currently writing the first two chapters and want to post them sometime this week. If anyone is willing to beta for me or have any questions you can dm me for details!

I plan to have maybe around 10 chapters of 3000 (subject to change).

Either rated general or teen

Relationship will be Katsuki Yuuri/Victor Nikiforov Other characters will also get featured like Phichit, Yuri, Minako, Mari, Yakov, Lilia, Chris, Georgi, Mila, Yuuko etc. There will be some ocs like Viktor’s father.

Tags would be alternate universe, royalty, soulmates, mistaken identity, angst, happy ending, humour, pining, secret relationship, prophesies, magic, star crossed lovers, hidden powers, skating, dancing, misunderstandings, alternating POV, forbidden love, technically enemies but they fall in love anyway, Supernatural stuff and a lot of reference to celestial objects, fate, symbolism, unreliable narrators, nonlinear storytelling

A brief summary (not my official synopsis) is Crown Prince Katsuki Yuuri of the Sun Kingdom is born with an affinity* for the moon. Tsarevich Viktor Nikiforov of the Moon Realm is born with an affinity for the sun. When Yuuri is planned to take the throne after his sister steps down, he looks for any way to postpone his coronation. He does this by announcing he’ll be looking for suitors. Meanwhile Viktor had a falling out with his father the tsar and the only way for him to not be cast out of his family is to marry royalty. He hears that the Sun Prince is searching for a suitor and he attends the masquerade ball.

*Affinity basically means they have a bond with it. Everyone has an affinity for either the moon or sun and some inherit powers. I will be digging deep into the lore within the story

I plan to post this on Ao3. I don’t have an account yet because I’m waiting on my invitation thingy to go through. On still on the waiting list and will probably get my account in about three days.

• If you find your book in the thread below, send the number of the book via reddit chat or via Telegram.
• Almost all the books are in their latest editions and some of them are available in multiple editions too
• Books (pdf) are delivered through Google-Drive link
• You can also send requests via reddit chat or by Telegram.
• Also, upvote the post if you found it useful

Please find the list below
15001. Foundations of MEMS 2nd edition Chang Liu PDF

15002. ActionScript 3.0 Game Programming University 2nd edition Gary Rosenzweig PDF

15003. Principles of Igneous and Metamorphic Petrology 2nd edition John D. Winter PDF

15004. Extreme Programming Explained: Embrace Change 2nd edition Kent Beck, Cynthia Andres PDF

15005. Sams Teach Yourself Transact-SQL in 21 Days 2nd edition Lowell Mauer PDF

15006. Programming Pearls 2nd edition Jon Bentley PDF

15007. Exam Ref AZ-204 Developing Solutions for Microsoft Azure 1st edition Santiago Fernández Muñoz PDF

15008. Exam Ref AZ-204 Developing Solutions for Microsoft Azure 1st edition Santiago Fernández Muñoz PDF

15009. Red Hat RHCE 8 (EX294) Cert Guide 1st edition Sander van Vugt PDF

15010. The Kollected Kode Vicious 1st edition George V. Neville-Neil PDF

15011. Supercharged Python: Take Your Code to the Next Level 1st edition Brian Overland, John Bennett PDF

15012. CJ 2019 1st edition James A. Fagin, Michele P. Bratina PDF

15013. CCNA 200-301 Official Cert Guide, Volume 2 1st edition Wendell Odom PDF

15014. CompTIA A+ Core 1 (220-1001) and Core 2 (220-1002) Exam Cram 1st edition David L. Prowse PDF

15015. Data Breaches: Crisis and Opportunity 1st edition Sherri Davidoff PDF

15016. Exam Ref MD-100 Windows 10 1st edition Andrew Bettany, Andrew Warren PDF

15017. Exam Ref MD-101 Managing Modern Desktops 1st edition Andrew Bettany, Andrew Warren PDF

15018. CCNA 200-301 Official Cert Guide, Volume 1 1st edition Wendell Odom PDF

15019. Exam Ref AZ-300 Microsoft Azure Architect Technologies 1st edition Mike Pfeiffer, Derek Schauland, PDF

15020. Red Hat RHCSA 8 Cert Guide: EX200 1st edition Sander van Vugt PDF

15021. Modern JavaScript for the Impatient 1st edition Cay S. Horstmann PDF

15022. Microbiology: Basic and Clinical Principles 1st edition Lourdes P. Norman-McKay PDF

15023. Google Daydream VR Cookbook: Building Games and Apps with Google Daydream and Unity 1st e

NOTE: This theory is mostly complete but needs calculations. The main discussion is done but I haven’t gotten a chance to work on the math. I’d like to do more calculations but with the game Ratchet & Clank: Rift Apart coming out next month, I figured it would be best to see if anyone would be interested in finishing it.

Within the Ratchet & Clank series there is a group of weapons so MASSIVELY underrated to the point that the game considers them gadgets rather than weapons. They might not be as flashy as the Sheepinator, or as loud as the R.Y.N.O weapon series (some of which ANNILATE to the sound of Tchaikovsky’s 1812 Overture) but when it comes down to it, could potentially be just as powerful. I am talking about the Hydroharvesters and their miniature companion the Hydrodisplacer from the original 2002 Ratchet & Clank game and 2016 remake of the game based on the movie based on the game.

In both the original and the reimagining of the first Ratchet & Clank game, Chairman Drek is working on replacing his old over-polluted planet with a brand new planet for him and the rest of his planet’s inhabitants to enjoy. He accomplishes this by destroying planets and then stealing the best land masses known to these planets. However, in the case of the planet Pokitaru, instead of stealing a massive chunk of land like he did before, he instead started stealing the planet's water using ships/weapons called Hydroharvesters. But despite the need to drain large quantities of water from the planet, Chairman Drek only seems to send three ships and they aren’t even that large compared to other ships in his fleet. This made me wonder, “How much water could a Hydroharvester carry?” And for that answer we would need to look at the hand held counterpart of the Hydroharvester, the Hydrodisplacer.

The Hydrodisplacer, one of the gadgets Ratchet & Clank use within the games, serves the duo as a means to transport large quantities of water from one place to another; just like the Hydroharvester but portable. But looks and application aren’t enough to conclude they use the same technology. So I looked at the in game descriptions from both games to see if I could find better evidence of them being connected and I got to say, what I found both helped my case and made it more confusing at the same time. In the original game the description of the Hydrodisplacer in the help menu screen is:

>“Using quantum compression technology, the Hydrodisplacer can

Pulp Fiction is a 1994 American neo-noir black comedy crime film written and directed by Quentin Tarantino, who conceived it with Roger Avary.[4] Starring John Travolta, Samuel L. Jackson, Bruce Willis, Tim Roth, Ving Rhames, and Uma Thurman, it tells several stories of criminal Los Angeles. The title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue.

Tarantino wrote Pulp Fiction in 1992 and 1993, incorporating scenes that Avary originally wrote for True Romance (1993)[citation needed]. Its plot occurs out of chronological order. The film is also self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". Considerable screen time is devoted to monologues and casual conversations with eclectic dialogue revealing each character's perspectives on several subjects, and the film features an ironic combination of humor and strong violence. TriStar Pictures reportedly turned down the script as "too demented". Then Miramax co-chairman Harvey Weinstein was enthralled, however, and the film became the first that Miramax fully financed.

Pulp Fiction won the Palme d'Or at the 1994 Cannes Film Festival, and was

I really wish I had more screenshots to include in this comparison, but (unfortunately) I didn't think to take any. I've been playing Dr. Vile's route on two devices, essentially comparing a diamond and a non diamond playthrough. And even though I'm not entirely feeling the subject matter (drones and technology), I really appreciate the route for how nonlinear it is in comparison to all of the other available routes.

The first thing I've noticed is how long the chats and the dates are. Even if they're not, they feel that way because of the longer text exchanges (mostly on Dr. Vile's side) and how descriptive the narration is during the dates.

Whereas other routes have basic continuity problems, Dr. Vile's route does not (at least I haven't noticed any). It's also the only route where our choices seem to matter, and are brought up multiple times as the route continues. They shape our MC and how Dr. Vile responds to them, and even influence the route.

I haven't tried a mixed playthrough yet, but for the most part:

• a diamond playthrough gives us an MC that embraces their villainous sidekick side, encourages and motivates Dr. Vile and discovers there's more to him than just being a villain
• a non diamond playthrough gives us an MC that is reluctant to go along with Dr. Vile, but does so to keep him in check, while trying to remind him he's not just a villain

The first is definitely more entertaining, but the latter has an opposites attract vibe to it that's interesting in an of itself.

Like I said, I wish I had more screenshots from previous chats and dates, but since I don't I'll use the last date and chat as an example.

If the MC doesn't help Dr. Vile steal the eggplant emoji sculpture, it's only mentioned in moments where Dr. Vile doesn't know if he can trust them. Whereas if they do, it's mentioned in chats and makes an appearance in his latest heist.

There's a list of all the things the MC has and hasn't done for him in his last chat, and those choices are reflected in the way Dr. Vile feels about the MC through his texts and actions.

If the MC chooses to be his assistant instead of just his lookout, they get the option to kiss him during the heist, and then there's this:

https://preview.redd.it/ynowvukjltn61.jpg?width=1097&format=pjpg&auto=webp&s=f343f703f052e64e4a059c317fac798fc36e5cbc

On the left is how a reluctant MC can respond in a non diamond playthrough, and on the right is how a sidekick MC can respond in a diamond

I thought to myself

Many people say games today are too 'simple' and 'linear', and this is the sentiment I always completely disagreed with. I feel the opposite is true. Recent games have become wider, nonlinear, and more complex, but lack depths.

Either out of trend or publisher's influence, it seems a lot of AAA blockbusters attempt to reach every genre possible for the mass market appeal. What happens is the game becomes a jack of all trades that hits the design checklist but master of none.

Openworld? Check. Skill trees? Check. Stealth? Check. Scavenging? Check. Crafting? Check. Sidequests? Check. Metroidvania element? Check. They want to encapsulate everything that is popular in the market with little care whether the feature reinforces core gameplay or fits the theme. The developers used to start the development with an aim to create a certain experience and designed the features and systems from there to fit that goal. Now, it feels like they already have a design template and then imagined a vision around that template. Time and resources spread thin across the game instead of pouring efforts into a singular, consistent vision. The game feels big, complex, large, but shallow.

The first games I noticed this trend were Tomb Raider reboot and Far Cry 3, both had a clear narrative vision yet the gameplay constantly undermined that experience. The games want to tell a gritty survival story of how an innocent, normal, ordinary protagonist transforms into a hardened guerilla fighter. The story demands to be taken seriously so much that they hamfist "this game is about SURVIVAL Y'all" message in every corner of the cutscenes, but as soon as the gameplay begins, it is like a fun island theme park with guns and explosions. Tomb Raider is especially egregious. You see a genuinely shocking cutscene with incredible acting from the actress with a strong rape implication. Indicating this is Lara using the gun for the first time, showing how she clumsily handles it and her emotional mental breakdown on the screen. It is a powerful cinematic... A second later, you get pop-up messages about "YOU EARNED THE EXP AND THE HANDGUN", then less than a minute later, you immediately mow down dozen of armed men in a bullet-time with little to no sweat. It is like two development teams wanted to create a different experience.

That does not mean the games that do follow this convention cannot be unique. Death Stranding, The Last of Us, God of War, Red D