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  1. So how do these wild “theories” come about? Well, it’s pretty simple. Most gamers just can not bear the most horrific of all things. Most of gaming is dominated by decided outcomes. Win Lose Us Them Allies Enemies If an outcome is not decided by the mechanisms within a game, it is just intolerable. So they decide what has been deliberately left undecided. Even when what THEY decide goes against something that has already actually been decided. They will either omit that (basically deny anything, indiscriminately), or gloss it (“interpret” the certain as ambiguous), so that EVERYTHING FITS together (even though it makes no sense at all).
  2. Of course this particular forum topic is far from typical, and the response which I made is atypical to the extreme. By the same token the instance of this forum post is one that I did not get SERIOUS in applying myself to. Producing something novel, perhaps even unique, absolutely not common, and with lots of stuff to PLAY AROUND WITH. It ADHERES more to the ideas of SILLY PUTTY than CRA Z GLUE.
  3. Well, let’s use the actual source material, which, as is common, has been selectively referenced and altered to fit the meanings and “theories” of whomever my be reviewing it. Where to begin. Well, there is the documentation of the story surrounding Gara. Sequentially, following the occurrence in the Stadium on Pluto, when it is assumed that The Tenno slaughtered The Orokin (although that assumption comes from a source who certainly meets the criteria for an “unreliable narrator,” by whose own account did not actually witness what actually occurred inside), for which no actual witness accounts exist. The ramifications, however, make it clear that The Dax have received information to that effect, informing a bias that The Tenno betrayed The Orokin, (with the curious exception of Teshin). There is little to no “lore” which covers why or how The Tenno came to converge at The Unum’s Tower following that event. The design of The Tower, and its structural extensions, are modeled on a “space elevator.” Now, according to what has been written, there is a huge ambiguity. There is also a difference in the type of content contained within the Codex Entries. The text entries (concerning The Unum, Cetus, The Tower, and surrounding culture & history, are plain, encyclopedic, necessarily taken at their word (which can create trouble, because the words alternate in “writers voice,” as well as “era” and “perspective,” producing many inconsistent, vague, and ambiguous accounts. The spoken Codex entries (by Onkko) are rich in an oral tradition. Laden with metaphors, mythos, and numerous general, but accepted assumptions. "In the dying days of the Orokin, with forums and promenades still blood-wet from Tenno betrayal, a colossal Sentient descended upon ancient Er, falling from distant stars to deliver upon Orokin a terrible and final ruin. Tower upon Tower fell to its weapons, but one withstood. This is already becoming rather curious, since we have much more reliably sourced information that Ballas had been orchestrating a betrayal of the Orokin on a massive scale since before the Tenno even became participants in the Old War. The cumulative sum of accounts paints a picture of Ballas having planned the entire course of the war. That The Orokin (whom he so deftly manipulates politically) had instigated the war by initiating a Purge of the new territory which had been made for them. (Oh, the solar rail to Tau is done, and it’s been set up for us to move out of this system? Cool. OK. Now F- Off. Just ... you know ... DIE. Your job is done, there’s nothing else for you to do. Go. Out out out!) Well, obviously that wasn’t gonna happen. And that was no surprise to Ballas. He was feeding them some major scare mail. Ultimately framing THE TENNO as the most dangerous threat to The Sentients. What? Looking over any territory, node, planet or moon on the Star Chart, there ain’t nothing that took a hammering at like Lua did. Oh wow, so when The Sentients attacked, they were looking for The Tenno? Ohhhhhh! “THERE WAS NO THEIR MOTHER.” ”THERE WAS NO THEIR FATHER.” ”MERELY FRAMED.” ”MERELY SHAPED, THEY ARE CALLED. The Origin of Margulis, her care, love for, and faith in The Tenno is an even greater mystery, and a matter that has concerned player “VERY NEARLY,” but been completely pushed aside by the things which concern them “very dearly.” ”Maybe they were sent to save us.” Wait. “Sent?” It seems that Margulis was somehow convinced that whatever the Tenno are, they are not from The Origin System. That they/we arrived from out of the Void, (a term which is in large part interchangeable with Nothingness, or Nothingness Personified, Etc.) is the most certain thing about the origin of The Tenno. An unused Chris Foss work from the portfolio of art concepts developed for a commission to create new cover art for Isaac Asimov’s “Stars Like Dust” The cover art for the preceding edition printing. Excerpt (translation) of the 13th Century Rumi* poem from which Asimov’s title was borrowed. So, continuing on with the folklore (or “oral tradition”) styled “lore” from the first Codex entry pertaining to Gara and Cetus; The Tower of the Unum. The Tenno scattered, but one remained. Gara. She and the Unum - inseparable. The Unum: lodestone of our people, and subject of a hundred stories herself. The Sentient was a deformed creature, twisted and massive, sent from some dark fold of distant space, a warped thing wounded by daylight. By night it was a terror, felling Tower after Tower. Citadel after Citadel. By day it hid, blinded and pained. It was during the day that Gara roamed, yearning to strike it from Creation while it cowered, weakened and blind, to safeguard her beloved Unum. But never could Gara find it." By contrast, corresponding text entries in the Codex provide very “dry,” textbook type information. “The word 'cetus', in the Ostron tongue, means 'landless, cladeless; a body turned to dust turned to mores on a careless wind'. History says the town was founded as a home for anyone, regardless of clade, trade or tradition. Friendships last a lifetime here. It is easy to imagine how, in the earliest days of Cetus - with the Eidolons roaming the Plains, the walls laid low and the Grineer war parties pressing in - mutual support and protection would have been essential. As times have improved this trait has become a key part of Ostron culture.” While Onkko is storytelling: "By night the Sentient was abroad, its titanic mass casting a terrible shadow across the land, the mass of it railing against the walls of the Tower, yet kept at bay by the exertion of the Unum's colossal will and the sacrifice of her faithful. But such exertions could not be maintained forever. Gara yearned to strike out, to lash and tear at the monstrosity that threatened her love, but the Unum forbade it. At night the Sentient was at the height of its power, and Gara's light would make her the most tempting of targets to a creature of such profound darkness. Gara's death would be certain. No. A different strategy was required." The next Codex visual entry provides a huge textual ambiguity: “What is known of the ancient warrior known as Gara comes to us from folklore and oral tradition. It is said that she was Unum's closest companion, and that when the Lotus instructed her children to flee Gara remained, refusing to leave the side of the one she loved best. When the Sentient was done razing a great many other Towers, when it turned its myriad eyes and receptors toward the Unum, it was Gara who gave herself to protect her friend - shattering the Sentient. The mindless monstrosities that now stride the Plains - the Teralysts - are all that remain of it.” Right HERE: It is said that she was Unum's closest companion, and that when the Lotus instructed her children to flee Gara remained, refusing to leave the side of the one she loved best. Quite literally, the grammatical form is actually stating “her” as being a reference to “The Unum,” not “The Lotus.” But that would create THREE “Mother Figures” for The Tenno. Except for Margulis having been sent to The Jade Light, and thus presumed dead. (Rapunzel?**) The line of FLIGHT from there moves pretty quickly to Lua - (What? Like they all just got on board some giant Space Elevator to Lua? Come on!) - which is then quite literally piloted into the Void by The Lotus (The Orokin having been apparently very industrious with installing navigational systems into Lua itself, but hey, those are the systems which we had to free up again for Lua to be piloted back out, so however Impossible that would be, given our Earth - Moon relationship, it’s what happened). Finishing up the folklore: "The Sentient sensed this subterfuge, and capturing one of the Unum's animals opened it up for examination. And what little of the Unum was present there... lit the Sentient's mind like the dark star from which it had fallen. The Sentient, you see, could not procreate. But in the Temple kuva it tasted healing. Completeness. A future. It devoured each and every last Unum-animal, but it was not enough. The Sentient turned its hundreds of eyes toward the Tower with new understanding: it would not destroy the Tower. It would become the Tower. It would kill the Unum, take her place and, one with that healing palace, give birth to a race of itself. Gara and Unum knew where the Sentient was. The Sentient knew the tower was the future of its race. The Sentient threw itself at the tower, no longer cautious, taking great losses and knowing the prize was worthy of it. Should it succeed all losses would be replaced a thousand-fold. This is when, across the Plains, the great pylons ignited for the first time. Sheets of energy sprung up between them, powered by the will of the Unum at their epicenter, trapping the monstrosity within. Loyal Gara, unwilling to heed inaction any longer, broke from the side of the Unum and flew out at night, her eyes on the Sentient mind." The Sentient, in short, was going off the deep end of psychosis into convincing itself into believing one thing after another. It was also totally disconnected. (Which only fed all the more back into what it was convincing itself into believing). "The Sentient, torn between its coveted prize and a mortal threat, broke from the Tower and turned back on itself from noble Gara. But Gara's eyes were not for the Sentient - but for the glittering, man-sized device resting just beyond the gates. It had not been there before, but it was there now. It swatted Gara from the sky, drew it to herself, meaning to end her life there and then. The battle was terrible. Gara sustained injuries she would not survive. But! In her final moments brave Gara seized upon the device her beloved Unum had crafted, seized it to her breast, and allowed the Sentient to draw her in one final time. Toward its core. Toward the seat of its intelligence. From within the Sentient unfurled myriad feelers, probles, tendrils - viciously-toothed and made for killing. They swept towards Gara, violently, and the Glass Warrior made no defense. Her defense was her final attack. The device detonated, and the Unum cried out as night lit as day. The battle - the terror - was ended. The Tower walls shook. The Sentient's body shuddered, wracked by a cacophonous energy. Forests fell as piece after piece, giant body after giant body crashed to the Plains and marshes and flatlands. Animals fled in spreading waves from pounding sky-high walls of dust, angered and whipped to fury by the death of a god. The last of Gara's energy arced from body-to-body, machine-to-machine, piece-to-piece, a horizon-wide applause of light beautiful and terrible. And then... silence. All was still. The Unum's adherents wandered throughout the haze, calling for one another, lost in a miasma. Husbands seizing onto wives, children onto parents. It was over. Gara was never seen again. The Sentients, then, became as they are now: senseless, wandering, yearning for a unity they sense more than they remember. And the Unum. The Unum survived, alone, for centuries. Until today. When you stand here, reading this. This is Onkko, Cetus Archivist, with my translation of the Gara legend." So. The idea that The New War is being spearheaded by a Sentient Attack on The Unum’s Tower is ... well, let’s have a look and listen to the provided teaser/trailers: The first transmission is coming from a Phobos rail ‘tractor to Venus, Visuals come in indicating an attack launch point into The Origin System from somewhere among the Jovian planets, The first recognizable part of system being flown past is Uranus and the into Grineer Galleons in Saturn Orbit, Audio panic cuts in that MERCURY has gone DARK All Ostron are told to leave MARS (which was where Ballas had his comfy little seat of power among the Executors) Natahs ridiculous and dementedly unhinged plan to Bear Amalgams (which possess the weakness of neither The Sentients or Orokin - which must obviously be “intelligence,” ... although neither were really all too bright to begin with themselves for that matter ...) was confirmed on Jupiter Conduits sold by Alad V (as an extension of that plan) were dispersed throughout the system And all of that is really a bit more than just foreshadowing the most emphatic audio transmission, “They’re hitting the whole system!” Meanwhile, NOTHING which The Lotus knows seems to have at all followed along with Ballas leading his beloved Margulis Clone/Zombie back over to the Big (“Mother”) Natah (wherein which his miserable and dominated Chimera Form sulks in a state of nihilistic despair that would make Sartre look like Mr. Rogers, hating Natah at least as much as his own existence, and dismissing The Lotus as having never been anything else but a manifestation of Tenno/Devil imagination. Presumably it is that same imagination which made it seem like a purple hologram of Lua appeared out of nowhere in our brand new personal quarters, and took us on a trip to the Lua Historyland without ever leaving or returning to the Orbiter, and transmuted into the HEAD PIECE of The Lotus which The Tenno also are just imagining is speaking in whispers with the Lotus’ voice to provide every clue about what to do. The bottom line it so obvious. Killing The Lotus is SO EASY. Just destroy that HEAD PIECE, and The Lotus is Dead. Finished. Despite Ballas doing some completely extraneous exposition concerning [the problem of mind- body] DUALISM, which just sort of got pulled out of nowhere (literally, just bringing in, out of the blue, as a belief that whom or whatever preceded the Orokin held as “truth,” before “the vain faith,” and then going about explaining it in really super-simplistic terms verging on contradictory), just to set up a concept that in the Tennoverse it is possible for “mind” to exist separately from “body,” and then mix that with some animation which makes it seem as though that concept has anything to do with how the Tenno basically can effect psychological/spiritual healing, unlike the Orokin or Sentients. Honestly, inventing some additional technomancy would have made a lot more sense for accomplishing the purposes of the Sacrifice script and plot. But, then again, aside from The Sacrifice really serving as the first Quest For The Lotus story in what is unfolding as a Saga “But it wasn’t ‘her,’ was it?” “No. I don’t ... hey ... F- YOU Ordis! I was there! I should know! It WAS HER! And I’M GONNA KILL HER!” (Oh, wait ... that wasn’t how The Sacrifice ended ... was it? Doesn’t matter. Kill Lotus! Kill Lotus! Kill Lotus! ... Wow, kinda scary to think of Tenno acting like a bunch of Grineer.) 86 The Lotus Head. Lotus Dead. Easy. Won’t make a bit of difference to Natah. And without The Lotus, The Tenno have ZERO INTEL about The Sentients. Kill Lotus. Destroy Head/Helmet! (Funny piece of trivia I happened upon; the working title, once the decision was made to go for broke, do or die, develop the reimagined as a sort of co-op multiplayer game independently was made, was “Lotus,” and then later changed to the less conceptual/abstract “Warframe.” Of course, it has a direct punch that make an immediate impression of action and Sci Fi. “Lotus” ... sounds like it could be anything ... or else a remake of the game built on Lotus car racing.) Of course it would be a marketing move even more disastrous than Natahs hair-brain “plan” to repopulate the Origin System with Amalgams born out of a despised and Platonic union with the Systems ultimate Three Time Loser, Alad V, to INCREASE Lotus Narrative and Symbolism throughout a new, expensive as **** Cinematic Intro / Trailer, being positioned to spearhead the most ambitious overhaul of the entire game ever, a couple of months after putting out a new quest that is just going to “Kill The Lotus.” (It’s sort of parallel thinking, really. Players, believing that they are going to “kill The Lotus” are pretty much thinking in the same way that Natah presents as “thinking.”) It’s no wonder her poor brother just slows to a stop and looks up with what seems like a depressed and forlorn posture and expression, having not been able to get to where he hoped he would; i.e. the voice which The Lotus mistook, saying “forgive me.” ”For what. I am not who you think I am.” Surprise! Neither was who you were talking to. “Ballas?” (Of course. Who were you expecting?) (My Bro .. uh ... my uh ... hmmm ... nobody really ... I was just uh ... surprised to see you is all ... ) * Jalāl ad-Dīn Muhammad Rūmī (Persian: جلال‌الدین محمد رومی‎), also known as Jalāl ad-Dīn Muhammad Balkhī (جلال‌الدین محمد بلخى), Mevlânâ/Mawlānā (مولانا, "our master"), Mevlevî/Mawlawī (مولوی, "my master"), and more popularly simply as Rumi (30 September 1207 – 17 December 1273), was a 13th-century Persian poet, faqih, Islamic scholar, theologian, and Sufimystic originally from Greater Khorasan. Rapunzel's story has striking similarities to the Persian tale of Rudāba, included in the epic poem Shahnameh by Ferdowsi. Rudāba offers to let down her hair from her tower so that her lover Zāl can climb up to her. Some elements of the fairy tale might also have originally been based upon the tale of Saint Barbara, who was said to have been locked in a tower by her father. Some researchers also proposed a connection to pre-Christian European (or proto-Indo-European) sun or dawn goddess myths, in which the light deity is trapped and is rescued. Extremely similar myths include that of the Baltic solar goddessSaulė, who is held captive in a tower by a king.
  4. Point well taken. I have [day] dreamed of having an Editor for years now. But that is really a more far-fetched fantasy than even any non-waking Dream. The role seems all but non-existent within the “New Media.” Short of that, an off-line app for pre-formatting would be ideal. In all sincerity, would you happen to have any suggestions along those lines?
  5. It is more of an “Integration” than a “conversion,” but it is what they are working on. It is an “overhaul,” which will do (in relation to the “content” and its present state of organization and “mechanics”) what the “Specters of The Rail” Update did (and made new room for). Just as with the present build-up, that “overhaul” was treated as something akin to a launch of a new game. It incorporated about the first half of the Cinematic which had been used for a “Trailer” (since the 2013 E3 Convention), into the actual “content” of the game (as an “introduction” into it). With the present build-up to a new launch, even Sony is putting “Teasers” for (the coming, “overhauled”) Warframe into Cinemas (where they have control over the “Content” that precedes a movie produced & distributed by them, as was the case with it being played in “Select Locations” during the trailers before the latest Spiderman Flick). An unofficial statement made in an interview established a target for the new integration, spearheaded with the newly added introductory “content” as being early February, while the whole of it is so massive that it is set for being deployed in three parts. https://www.warframe.com/news/devstream-131 Im order to make all of this possible, “DE” did something really radical. They actually supplementally changed the (Evolution) Game Engine itself. It’s sort of funny to think of replacing “king” with “evolution” (as the name of the engine), to produce, ”Evolution is dead! Long Live Evolution!”
  6. Well, yeah. And that would really be an equivalent of maybe 10 minutes of content in “Dream Time.” So there was a little (but “mainline”) Update about a month ago, which was more than two gigabytes. I thought that seemed pretty hefty. Lot of good stuff in there. But then I noticed some “community” post complaining about more than twenty gigs? So I just reviewed the process of how the app “copies” itself with the newly downloaded “content,” then the new copy deletes the old one. Of course it was just a couple months before then, that the whole thing had been streamlined down. So I was pretty surprised to find it back up over forty gigabytes. The only way I could account for it was by figuring that the new engine supplement has been fully deployed, and is just not using a lot of its assets yet. Complicated business. But (even without any “date” yet), I just had a look over the most recent devstream review page today, and they at least have a breakdown for how Empyrean is going to roll out. (I can’t remember there ever having been an update that required three phases to complete before). It’s really ... pretty mind-blowing ... I guess ... https://www.warframe.com/news/devstream-131
  7. There is something vital in that, which links to not only similar sentiments held by many players, but to the course of development since the first massive reorganization into a cohesive system that followed The Second Dream Quest (in 2016), through to the next “Update” (Empyrean) which is aimed towards doing very much the same thing in relation to the existing “content” and most immediately pending “content” in development for release before then. I came into first discovering Warframe pretty shortly AFTER that massive “Update” first launched in 2016. It was being launched as though for the first time, as it had taken on a means of asserting an “identity” of its own outside of the Steam Community of Gamers (for “gamers” on consoles or so-called “causal players” with “home entertainment systems”). I might have never discovered it at all, were it not for that effort. It effectively relaunched Warframe in a way that would usually accompany a First Launch of a “AAA” Title (or any game that had sufficient backing and resources to spend four or five or more years in planning and development to enter into the Console Market with a new Title). In fact I actually mistook it for being that “kind of a game.” The wild story of the development of Warframe is itself nearly Epic in its “sprawl,” (which is a term that I don’t find used very often in the lexicon of game review or “critique,” since it really references an “effect” or quality that literary works can exude). It is NEARLY, but not quite, any of that, because it has not yet been written. And that’s actually a “good thing.” Because the “identity” of the Game really began forming just four or so years ago. It May be more a matter of “synchronicity” than intentionality, that the newly added in-game avatar (or player proxy) which was first introduced in anticipation of that “massive overhaul” Update - - framed the “human” [like] appearance in a way that resembles an age range most frequently associated in “developmental psychology” with a phenomenon it refers to as an “identity crisis” (the mid-late teens, which is now just sort of tagged as “adolescence”). https://en.wikipedia.org/wiki/Identity_crisis https://en.wikipedia.org/wiki/Adolescence It is ironic (at least) that the apparent age which is represented seems to be paradoxically at odds with so much of the “lore,” wherein, even now, the NEW INTRODUCTION to the game just goes, perhaps, to the furthest extents yet, in presenting “The Tenno,” as ... well ... This isn’ the first time, within this thread, where what has been set forth should/could have eventually been resolved into a discussion which opened up a path for a redirect [or bridge] into another forum. There has been a forum concurrently running, with a topic posted by “DE,” which is looking for ideas that might be helpful to a number of dilemmas being worked on toward improving the “new player experience,” (and reducing early player dropout). It is quite timely that “DE” has opened such a forum, in light of the scheduling framework set forth that has announced a “drop” of “The New War” quest on or before Christmas, and intentions to integrate the New Introduction [content] early in February. The New Intro is the “spearhead” for the coming “MAJOR OVERHAUL” which is in development, and which the Empyrean Expansion Update is being positioned to put into place, effectively doing something that is not dissimilar to what the Specters of The Rail Update did in mid 2016 - Reorganizing and creating further cohesion in the ongoing process of “world building.” The framework expansion provides for both better space for new development and for cohesion and integration of existing “content.” The reorganization is particularly critical to creating an overall environment necessary for both the incorporation of new [contextual] “in-game” [set-up] “introduction” [material] “content” and providing for rendering what has been teased by the Duviri Paradox Cinematic for the first time, ever. I would inset a link to the above mentioned forum [HERE], if only I could find it again. (oops?) I’ll replace that with a link in an edit, if/when I find it again. For now, https://www.polygon.com/2019/7/6/20684361/warframe-new-player-cinematic-dan-trachtenberg-movie [only links to] https://www.polygon.com/2019/5/16/18618579/warframe-free-mmo-shooter-nintendo-switch In the meanwhile, it is rather amusing to note that a Movie Trailer [Teaser, really] FOR the [then] yet-to-be revealed New Introductory In-Game Cinematics, which are aimed toward Warframe launching into a New Phase of Life (so to speak), wound up finding its way onto YouTube via [Partner] Tactical Potato, after having been recorded on video while in a real movie theater. As such, it serves as a good example of how a “Cinematic,” (such as was made for The Duviri Paradox), is not necessarily showing anything which will actually be presented that way “In-Game.” The assumption that what the Cinematic “Teases” is showing something which is going to happen “in-game,” and that the game (or expansion) will be defined by what is shown in the Cinematic, has a way of getting the better of peoples imagination, biases, and all too often (when faced with a deficit in knowledge or experience), the best of their own “Real Enemy.”
  8. A mature Operator or moderator? (I don’t know how the moderator “role” in devstreams is assigned, whether there’s a default to hierarchy, or someone on/off camera signaling or cuing, or whether it’s primarily a sort of anarchic consensus, or whether there are particular or informal guidelines (or both) for presentation (as differentiated and inexorable from “content,” i.e. a variation of “The Medium is The Message,” [Massage, Mass Age, Mess Age, etc.]). But in terms of The Operator within Warframe, it would be nice to learn about some plans for incorporating some sort of maturation process into the schema (if there are any). One impression from the transition sequence that was used to provide a cut to the DP Cinematic (and likewise matched the Cinematic sufficiently), was of an Operator who, though still “young looking,” also appeared more grown (in height) and with more a somewhat more dynamic range of expression. That seemingly expanded range in the young Operator (or really, I should say, “young-adult-looking,” since this is only a personal impression) used for the demo, to match with the transition and then the Cinematic), while still pretty well fixed in the “serious,” was also beyond the present range of non-Cinematic expressions within Warframe in its present state. Again, it has to be kept in mind that the DP teaser is entirely a Cinematic (and therefor may not be at all a reflection of anything that will be realized in terms of further development applied to The Operator in Warframe any time soon). Generally the matter of how the Operator presents is overshadowed by a demand for things like “improving Operator functionality,” or a call “to expand and improve on Operator options and gameplay.” The bottom line being, that maturation is a subtle process, and the means by which it is measured, though varied, always have to rely upon a baseline concept of the “self.” E.G. “Yeah, I remember myself when I was that age, and I’d be out doing __________. Strange how growing up works. That I can still remember myself the way I was when I was younger, without feeling like that ‘self’ isn’t still an important part of who I am now.” (In The more Objective realm of philosophical theory and psychology, there has long been a oft-called-“paradox,” formulated as a “thought problem” or “experiment” which directly relates to the matter of such observations, called “The Ship of Theseus.” https://en.wikipedia.org/wiki/Ship_of_Theseus ) Now whether reflecting on maturation and growing up in terms of how the processes are subjectively perceived and/or objectively evaluated in relation to a “sense of self” - (or what psychoanalysts used to refer to as someone’s basic or “fundamental character,” before psychoanalysis and psychotherapy were driven into professional extinction by the advancement of a Diagnostic & Statistical Manual [for Diagnosing Mental Illness] dissolving the “influence of Freud” completely with its third revised edition) - is something which “DE” has long had hanging in “the back of the mind,” so to speak. Conceived, even before the first release of The Second Dream, “DE” began conceptualization for how the revelation of a player being depicted as an actor within the game itself was going to follow onward from there (“as we begin, so shal we go,” as someone once said ; ). And so the concept of following into yet another very radically different sort of “Quest,” aimed in the practically opposite direction from exploring outer space was being developed as an exploration of what McLuhan would have called “The Inner Trip,” as “The War Within.” The direction was predicated by the very conclusion of The Second Dream from the day it was first LAUNCHED. And there was a device which was built into the very structure of that quest, almost like having a book where the title of each chapter would be given a title after being read & digested, interpreted and then presented with a choice of titles, which would reflect the attitude & perspective (or “mood”) of the author towards the subject and story. It was a peculiar way of going about things, and incorporated a conceptual (and literal) “device,” which basically used continuous circular dioramas on three wheels to produce (and in continuing onward, further refine) a semiotic representation of the “self” or “fundamental character,” which eventually came to be called “alignment,” (in accord with the pervasive RPG terminology of “character creation”). I still have not found any source that correlates that term with any “official statement” made by “DE.” In fact, it took me a hell of a lot of searching to find out what the [thing] was being called at all, or referred to even just within Forum discussions. And so where & when it finally came into being settled, (by whatever means), was with a forum posting that was interested to see what different players’ alignment looked like, being initially assumed that there were only four basic variants, but quickly established sixteen distinctive variations. In a posting shortly following that, a player created composites drawn from what those sixteen variants showed, actually revealed three circular diorama wheels, and went on to demonstrate (what was not then shown within the game) how they turned continuously in relation to one another by making an animated GIF. (It’s was much later on that DE actually changed the presentation of choices in-game in such a way that included the “alignment,” and actually showed the turning wheel mechanic activate when highlighting each choice before deciding). But very much to the contrary of the way in which “alignment” is used for “character creation” in Role Playing Games, (as a predetermined set of parameters that govern or condition the behaviors of a fictional character), the way DE has deployed “alignment” follows closely in accord with the methods employed by what is generally referred to as “human metrics,” (or systems based on Jungian Topology, or in terms which adherents prefer to avoid using, for very good reasons, * “personality testing”) during initial evaluations, testing, inventory, etc. So there are, already, numerous questions which “alignment” device or system calls to mind in a discussion of how the process of maturation or growing up is going to be handled in Warframe. * During the 60s, Alan Watts made a particularly salient point concerning the nature and concept of self and identity, by calling upon a book written in the 40s by Harry Emerson Fos$&*^, called “On Being a Real Person.” The point to that was something which became a far better known term than “on being a real person,” by Watts’ dissemination. He quickly pointed out that what what the title really translates to is “How to be a genuine fake.” (Perhaps not a “paradox,” but certainly an absurdism by way of an oxymoron). From there he focused on how the meaning of “person” had so far declined from its original form and usage, so as to practically represent the direct opposite. Where it had been formed by a combination of the terms for “mask” and “sound,” as a devise used by the actors in Ancient Greek Theater. The counter which Watts posed to the popular acceptance of person as meaning “whom someone truly is,” made a significant impact right on up into the very present day (to quote Nick Haslam as just one example): “Interestingly, the word 'person' did not originally refer to the individual in the way we tend to use it today. Instead, 'person' came, via french, from the Latin word 'persona', which referred to the mask worn by tan actor to protray a particular character. In this theatrical sense, personality has to do with the role or character that the person plays in life's drama. The person's individuality, in this sense, is a matter of the roles or characters that he or she assumes.” persona (plural personas or personae or personæ) A social role. A character played by an actor. (psychology) The mask or appearance one presents to the world. http://www.thinking-differently.com/neurophilosophy/wp-content/uploads/2014/10/AlanWatts-On-The-Taboo-Against-Knowing-Who-You-Are.pdf And even the Webster’s dictionary has now dropped the definition of “person” from “common usage” down to fifth place. Definition of person 1: HUMAN, INDIVIDUAL —sometimes used in combination especially by those who prefer to avoid man in compounds applicable to both sexeschairpersonspokesperson 2: a character or part in or as if in a play : GUISE 3a: one of the three modes of being in the Trinitarian Godhead as understood by Christians b: the unitary personality of Christ that unites the divine and human natures 4aarchaic : bodily appearance b: the body of a human beingalso : the body and clothing unlawful search of the person 5: the personality of a human being : SELF 6: one (such as a human being, a partnership, or a corporation) that is recognized by law as the subject of rights and duties 7: reference of a segment of discourse to the speaker, to one spoken to, or to one spoken of as indicated by means of certain pronouns or in many languages by verb inflection. In that sense, it can be pretty easily recognized that the character of Nakack is acting in a role of raisonneur for ‘DE,” ever behind a mask, and making a point of skillfully dancing over (or dodging) the import of “person,” having “never met a good person, or a bad one. It’s just folks, friend. Everyone is just folks.” Of course Nakack presents very paradoxically, as a seemingly very young girl, yet having gathered that very outlook from a lifetime of experience, working “all kinds of jobs, in all kinds of places.” To be a 'real person' is to be a 'genuine fake.' The word person means mask, derived from Greece when actors would wear masks called a persona. So this life is a drama and you are its actor. You deliberately chose this life to play the role of this person. But you are not the person you believe yourself to be, for it is just a mask to who you really are. But you don't want to know this because you want to play the role in the drama of life you have chosen. So we put it out of our minds and we believe that this person or mask is who we truly are, and we genuinely believe this to be true. But this person we think we are is just a fake, a mask over our true selves. We are pretending in the game of life. Of course it is also understandable that many players MAY actually be less concerned with seeing a Mature Operator out of an interest in how the process of maturation or growing up is going to be handled, and more out of an interest to see their Operator ACTING more maturely than they do.
  9. You’ll have to forgive my lack of experience with Red Dead Redemption, (in that while it is not unfamiliar to me, I have not played it, probably by fault of feeling uncomfortable with games that impose a scripted male gender character role ... something which Metal Gear Solid V was actually able to diffuse by establishing a shell character, who is not only presumed to be amnesiac, and be estranged from his [my] own physical form, but also from the context of “the world,” though still requiring an extended degree of stamina to slowly take in on an infrequent and episodic basis) ... but, THAT’S ANOTHER STORY ; ) And so, by extension, I am not aware of the way by which RDR employs an Operator as an Avatar which presents within the environment as a differential proxy for the “self” from Shape, Styling, Fashion ... Armor ... [Warframes] ... Masks ... I don’t want to say “Forms,” because there is a critical part of Warframe that extends from Plato’s “Theory Of Forms,” which essentially confers a very different meaning to “Forms,” from it’s more familiar common usage. But hey, if it was a forerunner to Warframe in providing for an Operator type role/mechanic in game, as an intermediary between self and the Character ... (damn, I don’t know what his name is, not having played it ... if he even has one ... I mean Sergio Leone was able to translate Toshiro Mifune as a Yojimbo [real name not known] from “Bad Old Edo,” into Clint Eastwood, transplanted to somewhere in the “Wild West,” without even an assumed name, nickname or moniker being invoked throughout the entire movie, “A Fist Full of Dollars,” and a semi-sequel [wherein nothing more than the titles even implies that it is the same character being portrayed in two different stories, while there is also nothing that makes it impossible either] in “For A Few Dollars More“) ... I don’t know how they worked it in RDR ... I mean I could imagine it as being something like The Character whose sort of “inner child” as “moral compass” who is only ever seen by him and/or the player who creates it ... making for a perfect concept to try to carry over [as far as it could go] into a an adolescent-ish in-game proxy for the player as the Operator ... I just don’t know ... I mean I don’t know how RDR did its Operator type thing. But ... Oh, wait ... my bad, I think I just somehow misread what was written relating The Operator in Warframe to RDR. The rest, well, aside from a rather repugnant analogy, between the way Harmony Gold looted and bastardized Macross to make Robotech, reinventing “protoculture” as a literal source of energy/power out of just what the word implies, a sort of social phenomenology generated by culture, from which the Zen/Meltradi have been divorced ... I guess they figured that getting adolescents who were into He-Man and Thundercats to follow along with a story that used dynamism as both a central catalyst of conflict and a concept which the story explores, would have gotten the show labeled with the equivalent to a latter day ESRB “M” Rating. Although Warframe might actually be evidence that if HG had not dumbed it down, Robotech wouldn’t have gained its US audience. In examining how much/little of the player base has identified what The Void represents as a Reciprocal to the Concept of Chaos in Cosmogony (which has been so easily and freely adapted for decades as “The Astral Chaos,” to serve the purposes of the Soul Calibur franchise). Then again, DE certainly did not bet the bank on players figuring out or even comprehending there being any “meta game” being employed as a set of guidelines and hard rules which, combined with the hard limitations of DE & any developers capacity to apply resources and technology in ongoing development to “expansion,” have provided a buffer against erratically miss-steering Warframe toward a course that is imitative of other video games, while providing plenty of room to borrow “mechanics” in an immense variety of ways, without losing its own. The “expansion” which the DP Cinematic teases, is, at the very least, subordinate to the full working implementation of “The Empyrean Expansion.” A major expansion of capacity by supplemental augmentation of the game engine itself, being enabled to actually link directly between differently scaled environments, and produce something which still can not be done (without that expansion in place): The expanses of virtual space and scale of immensely sized objects which have been segregated, becoming fluidly integrated. (Meaning that IF what is seen in the far distance is, somehow, what it has been presumed to be, the Zariman, a ship too large for any depiction within the game up until now, the distance between where the action of the Cinematic has been focused and that enormous distant object, will not only be traversable, but the object will actually be accessible as an interior/exterior type of environmental structure). Sorry to have to break the news that the Zariman didn’t crash into the limited old west plain of a monetized game disc. But the time for growing up comes along with figuring out that “protoculture” power wasn’t conceived as an energy source for running FTL engines or firing a huge mega gun into fleets of giant enemy space ships. And so really, the conjecture has not had anything to do with “The Western Genre,” or with Warframe, but with wanting Warframe to turn itself into Red Dead Redemption or a “single player console game,” that revolves around guys on plain with beards riding horses ... like in Red Dead Redemption. There’s already a Goon Show Script for this, actually. Seagoon: I say, I say, those little people in Warframe; what, what race are they? Bloodnok: The Tenno. Seagoon: But what are the short ones without beards? Bloodnok: Those are Operators. Seagoon: And what are the ones who have beards? Bloodnok: Those are Operators who haven't shaved. Seagoon: I see. But why do only half of them shave? Bloodnok: So that they can tell the difference. [Aside] Can we have music for this bit, please? Orchestra: [Violin 'Hearts and Flowers'] Bloodnok: Thank you. Seagoon: Tell the difference from what? Bloodnok: Between those with beards and those without. Seagoon: To avoid all this confusion, why don't the ones without beards grow beards? Bloodnok: Well, that would be rather unfair. Seagoon: Unfair? Why? Bloodnok: The ones without beards are women, you see. That's how they tell the difference, you understand. Seagoon: This is ridiculous. I've never heard of families growing beards in their relationships to differentiate between the sexes. Have you, Eccles? Eccles: Oh, yeah. It happened in my family. When I was young, I couldn't tell the difference between my mother or father, so my father made my mother grow a beard. Seagoon: Ahhh, and you were able to tell the difference? Eccles: Nope. Seagoon: Why not? Eccles: My father had a beard, too! All: Shut up, shut up... [various, in agony, striking Eccles] NURSE: Time for your naughty medicine Mr Gonnor. KEN: Oh Nurse.... ha ha I didn't see you.... NURSE: You are naughty.... say Ahhhhhhhh! F.X.: MONEY BEING SCOOPED DOWN HIS THROAT KEN: (mou~hing) Ahh£50... my poverty feels better already... gad, I feel fit. ECCLE5: Hello dear.... well, how's the patient? NURSE: Ohh hello handsome. ECCLES: Ohh, you're a good looking fella too. KEN Silly Eccles, this nurse is a woman. EGGLES: Oh well, he's a good-lookin' woman, isn't he.... NURSE: Are you married? ECCLES: Yer. NURSE: Your poor wife. ECCLES: Yer. But the girl next door, ohhh ho ho ho ho.... KEN He's growing up folks, it had to come. And of course, if one were to extend the analogy I had drawn, as a composite of the “old school” (that fed into & through a cinematic focal point of a couple of Jodorowsky flicks, right around when the players came together, Giger, Foss, O’Bannon, Möbius, etc.) brought into 2020 with the present gen of what Oshii was on top of ten years ago https://en.wikipedia.org/wiki/Mamoru_Oshii It’s pretty easy to see that there ain’t nobody gonna be making them grow a beard just so they get to play, but, at the same time, it’s difficult to make them look Old, (much less, disheveled, dazed and basically kind of witless).
  10. As far a clearly suggesting a Wild West Style Voyage, play the Cinematic without the Sound. (Do the ears see a Wild West Type pattern more than the eyes?) As far as the DNA goes, enough uniquely created (metaphorical) chromosomes have already been invented and BRED into the matrix of ongoing development as to really extend beyond the mere metaphorical, crossing the realm of analogy, and verging on a. potential resolution into a revelation concerning the expansion of “mechanics” being created for the continuing processes of development in “virtualization” b. a near-ingenious effort toward realizing self-satire by means of constructing a hypothetical argument ad absurdum* c. hinting that given a very simplified reading of a particular proposition in quantum theory, which asserts that x exists in all possible states simultaneously but can only be viewed in one at any given interval, a single sample is inadequate in identifying the character of x ** d. a dilemma within speculative/“science” fiction, that the influence of existing fiction in media about “frontier” living *** fused with “Sci fi,” is so old by now (using as a starting point, the 1966 “high concept” pitched by Gene Roddenberry for a TV show described in terms of being like [the TV show] “Wagon Train” set in the future, in “Space, The Final Frontier”), that negotiating a means for yet another reiteration of the device (that does not instantly fail under the weight of cliche) will certainly become rapidly unsustainable as a property for further development (or “FUTURE EXPANSION,” in the parlance of game development). ”Exploring the final frontier is one thing. Making a home there is another ...” https://www.newsweek.com/wagon-train-stars-410030 https://memory-alpha.fandom.com/wiki/Wagon_Train_to_the_Stars https://tvtropes.org/pmwiki/pmwiki.php/Main/WagonTrainToTheStars Barring an [effective] effort being made to tie the Duviri [expansion] in with implications inherent to the mysteriously handled, (and largely veiled) means of transportation by “Solar Rails” within the “Tennoverse,” forming a prefacing dimension in pretext, the development of a “major expansion” based on a groundwork of a “Wild West Style Voyage,” would present as serving little more than a mere demonstration of how a “recipe for disaster” (as provided by “The Ninja”) is cooked. Perhaps the nearest thing to a certainty that could be assumed from the Duviri Paradox Cinematic is (arguably), that the revelation of how the Duviri Paradox becomes characterized and/or defined will serve as a prerequisite to accessing the territory. While the actual “territory” (in development, for the “future expansion”) has yet to be confirmed (by name), it seems doubtful (though not impossible) that it will be called “The Duviri Paradox,” while it most certainly will not carry over the place holder name, “The Plains of Duviri,” by which it had become known about being in development prior to the cleverly A/V Switched Cinematic “Reveal” during Tennocon ‘19, (which despite the topicality of the content, was maintained in line with what had been announced in terms of what “we [DE] are not going to show you,” being the next “Open World”). On the other hand, the prospects for longevity in developing content by mining (or resourcing) an already deeply enriched, and hardly (if ever) tapped well for fertile premise material (drawn from fiction in Cinema) can be easily recognized within the obscure “sub-genre” of the “Acid Western” alone (wherein the raiding of any “Western” fiction “content” is “fair game,” but self-identification is “genealogically removed” from the “DNA” of the “Western” by declaration of its “founding father” as being “not a Western,” is explicit). The term "Acid Western" was coined by film critic Pauline Kael in a review of Alejandro Jodorowsky's film El Topo, published in the November 1971 issue of The New Yorker. https://en.wikipedia.org/wiki/Acid_Western * Ask Shinichirō Watanabe, ask Cowboy BeBop, ask yourself, ask your mom, ask DNA. ** SEAGOON: Dear listeners: let me explain. This was terrible news, you understand. Gina was one of a pair of Tuscan salami's which were given to Britain by Italy and were the sole breeders of the rare Tuscan-type sandwich salami as used in all espresso bars and the well-known hors d'oeuvres. This is known to you all, I understand, but, Greenslade, let John Snagge explain. Put the record on. (BBC Announcer) John SNAGGE: Last night, over a sleepy Houndsditch, a new and secret missile of terrifying potentiality was successfully tested. It is the so-called HOT DOG. A pre-heated salami fitted with a warhead. SEAGOON: Yes, dear listeners, and strange to relate, these fiendish weapons were not manufactured, but BREAD in captivity. https://tvtropes.org/pmwiki/pmwiki.php/Main/AbsurdityAscendant https://tvtropes.org/pmwiki/pmwiki.php/Radio/TheGoonShow http://www.thegoonshow.net/scripts_show.asp?title=s06e23_ the_great_tuscan_salami_scandal *** i.e. the “Western Expansion,” which in fiction is comprised, by majority, of “Westerns,” and is most fundamentally identified in a situational framework defined by the social & cultural impact being made by the completion of the first Transcontinental Railroad to establish rapid transportation over land between the Atlantic and Pacific Oceans during the latter half of the 19th century, exponentially escalating the growth rate of the Industrial Revolution on a Global Scale.
  11. The DP is a Tennoverse Western? Ahhh ... no. The majority of the most popular “Western” movie styles and iconography that is culturally familiar, is carried over from the international (mostly Italian) reimagining of “The Old West” (“Wild West,” etc.), which Sergio Leone carved out a territory and name as the “King” of. The Cinematic stylization which presents as influenced by “Western” (i.e. “Cowboys,” and 19th century post-Civil War era “Frontier” America locations), derives entirely from that “school” and its There was, however, underlying those productions, an incredible amount of East - West exchange beginning from Akira Kurosawa and the influence (and even direct adaptation) of older American Westerns (John Ford being a particular standout), transplanted from Cowboy to Samurai. That exchange was reciprocated with Leone doing likewise (from Kurosawa in particular) as influence (and even direct adaptation) from Old Édo to Old West (shooting mostly in Italy and Spain). The influence of those films over El Topo (in particular) and a rather vaguely defined sub-genre of the “Acid Western” is most pronounced (while the “classic westerns” are pretty much out of the picture ... so to speak). It was the 60’s cross influence of “Eastern” (e.g. “Samurai”) movies into the (mostly Italian) European Produced “Westerns,” that fueled an even further reciprocation with Takashi Miiki’s direct adaptation of Sergio Corbucci’s 1966 “Django” (which drew heavily from Kurosawa’s Yojimbo) into Sukiaki Western Django (shot entirely in Japanese, save for Quinten Tarantino’s cameo dialogue). if there is any single term that can most inclusively sum up what has been shown of The Duviri Paradox, it’s “CINEMATIC.” To call it a “trailer” would (obviously) be quite far from correct. To presume that it is actually showing anything which will occur within Warframe, would be terribly unrealistic (in that it would mean that whom we are seeing in the “Cinematic” will be a NPC to whom we have not yet been introduced). UNLIKE the new “Trailer/Cinematic Intro” - (and its [functionally] VERY SIMILAR predecessor, that had approximately it’s first half incorporated into the game itself, along with a massive structural reworking, reorganization and “FRAMING” of existing, newly added, and newly developing “content” of the entire game, back in 2016), which shows “content” slated to serve as introductory cinematics to the game, within the gameplay “environment*” (or “in-game”) early next year. the Duviri Paradox Cinematic does not. It pretty well assures that what is seen in terms of the “Cinematic Content” will NOT be seen (in terms of its Cinematic “Content”) within the context of Warframe. But, if it is not showing something that we will see happen “in-game,” then what’s the point of making it? Why show us that, if it’s not something which is going to actually happen, just like that, when we play the game? Why are we all going to have to be a guy with facial hair, wearing a mask, and go through everything that was just shown? How come we don’t get to pick what our gender will be, and script out what will happen for ourselves? Now that we’ve seen this, why the hell would we want to try to play through it “in-game,” just to make it do the same thing? (Isn’t that really pretty backwards-thinking of DE, to basically force us to do the same thing that you had to do to play those Laser Disc Arcade Games back in the 80’s, where they just chopped up an animated movie, and demanded that you press just the right button at just the right moment, to represent some “right” action, in order to just keep watching the movie?) Well, there is one reply, that will sufficiently address all of those (and countless similar) questions, without answering any of them: ”Grow UP!” It’s a Cinematic that uses a Visual Narrative to showcase some of the things that will be seen in (“what we’re not going to show you ... the new ‘Open World,’”) part of the game which is in active development. It is something which was anticipated, due to it having become known already that DE was working on a next “Open World”-Type of expansion, with a Place Holder Name “The Plains of Duviri,” and which they made a special point of saying they would not be showing us (well, okay, it was Steve Sinclair who actually said it, but it’s the same difference). And so Steve, rather slyly, pulled a surprise by telling a sort of “half-truth.” They did not show the next “Open World,” (exactly), but rather they made a Cinematic using some of the assets and content, providing a tease of what is being worked on will look and feel like, without really “giving anything away” about it. It does not “show” the new part of the game that is being worked on, in terms of where, when, what, how it will be, or work, or what will happen, how it will be played, who or what any characters or their likenesses are supposed to be. It delivers a gist impression. A lot can be gleaned from that, as it is visually (and audibly) very enriched. There is practically nothing which it shows that has ever been seen in Warframe before, yet the likenesses to both things familiar from Warframe and non in-game experience are enormously abundant. The imagery is emphatically DREAM LIKE, as is the visual narrative. Heavily entrenched in symbolism. Apparently it is an environment that is governed far more by the sorts of “mechanics” or “theory” underlying “dream Logic,” or “Surrealism,” than by anything that is more familiar to the sense of realism (hyperbolic as it is) guiding how Warframe works in a way that is similar enough to ordinary, “real world” experience. The implications made by the way the Cinematic was framed, when it was first shown, are that (unlike the previous two “Open World” Type environments), this one will be reliant upon a rather advanced level of prerequisite in-game experience (i.e. completion of The War Within Quest at the bare minimum). Another extraneous piece of framing information that was (of course, deliberately) included during the “set-up” for the first showing of the DP Cinematic, was delivered via the Cephalon NPC (being used for development builds of the Railjack system in the Empyrean Expansion), referencing a “FIFTH dimension,” which Void Storms tear through (or into). The prevailing Four Dimensions are The Void, The Origin System, The Fold, and the world that is outside of Warframe’s “Game Universe.” The New environment is VERY strongly presented as a “Through The Looking Glass” type of realm. What John Dee would have described in terms of “a place where the verities become manifest.” Where the persistently immaterial substance which we (as Players/Tenno) actually get to see as “The Void,” is enormously inverted. (We can see The Void, via a sort of phenomenology which is just automatically granted, whereas other NPCs just see the unfathomably deep darkness of infinitely distant space). Of course there is a peculiar sort of reaction that occurs when things that very mysterious and little known are revealed, wherein players will tend to sort of swap their own poverty of knowledge in relation to the developers abundance (since they are thoroughly entrenched in actually making this, and deeply invested in having to make it work). So where we know very little, it is because they have not told us much of anything about it. So it gets somehow assumed that they know even less, and are thus, somehow malleable to instantly creating whatever players (believe that they) want or don’t want. As an illustration, taken directly from this forum thread: ”I somewhat assume the things in the paradox will be nightmarish versions of other beings. So over time things got stuck in or consumed by the void. The paradox is likely an alternate reality of the void. The character which seems to be a older powerless tenno. Is probably a alternate us that didn't make it out of the void. Perhaps the 2 versions of us will unite as one more powerful being at the end of a quest chain. Thus the tenno creator engine could get a complete overhaul. Giving players much more creaative freedom. And making operater mode more useful for gameplay.” A “Tenno Creator Engine?” ”Grow up!” I guess I’m practically the opposite. I see and saw the Cinematic and just feel this fantastic sense of fulfillment. That it is a beautiful whole unto itself. Something that could stand its own ground, without needing to have any relational dependency upon anything else. That what is there can just as well fulfill the entirety of a work, which concludes with revealing its title, as it can a prelude to something more to come, or reliant upon something else which frames a context. Maybe being able to appreciate the DP Cinematic as something whole, has some fundamental relation to what growing up is really about. I have only ever pressed the question of what the actual paradox is, as a rhetorical device, in response to those who look to discard any relevance in that title, and go right on into trying to say what they do and don’t want from it, formatted in a way that they believe theories are presented. I had just noticed a YouTube video having been posted (when going to retrieve the links to the Cinematic Intro/Trailers) with a title asking, “What is the Paradox, exactly?” Look, if it has been disclosed, then there would be little point to making a whole video just to try to find out from somebody. Right now, it is not something that has been made known. I don’t need to watch a video (that is even longer than the Cinematic which it is related to) to figure out how or when to guess or ask what. If any answer will do, then it can just as well make do with what I left in the comments box as it can with whatever constitutes the “content” of the video. There, in The Origin System, what lies in wait to be discovered is that “This is what you are, (a Tenno),” but it is not who you are, while what lies in wait to be discovered, in a FIFTH dimension, is that “This is who you are,” but it is not what you are. How is that for a Paradox?
  12. Yes, well looking very closely, I can see that the effort put into forming a likeness of a Dax, from only the structures which would be considered “remains,” or non-living, (bones, clothes, adornments, etc. w/o flesh, muscles, organs, etc.) was quite well spent, since the impression of THAT likeness has been quite commonly registered, commented upon and accepted as being very deliberate. Now when I say “commonly,” I mean that there is pervasive discussion going on about that depiction. I do not mean that “everyone” believes that it looks like a Dax or is supposed to. (And in many instances when the position has been taken, which casts a doubtful attitude towards either or both of those perceptions, quotation marks are used when “Dax” is referenced, as an indicator that there is no substantiation underlying the inference of a “Dax”). So, as far as the substantiation underlying the Dax being applicable to the Duviri Paradox Cinematic, putting “Dax” into quotation marks, no matter how many times over, will still not get very far in convincing anyone that it is somehow unwarranted to make such a reference in those terms. Now moving on to looking very closely at the head, it seems reasonable to infer that there was some deliberate effort put into emphasizing the effect of Pareidolia, such that it would come off like a sort of scary looking face of some sort, like an anthropomorphic insect or some sort of alien like abstraction. Even thinking that it somehow visually resembles an insect-like intelligence, can still fit into those parameters (although it does really stretch them). But where a description of something which attention is being called towards to “look closely” at, consisting of a few frames of digitally rendered animation, veers into Apophenia, is in “like some ominous intelligence playing at mimicry and control...taking on the shapes of the things it conquers and consumes. Possibly a corrupted Sentry?”
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