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  1. Personally, nothing. I think it works exceedingly well ... ... so long as the nature of what “The Origin System” REPRESENTS is not lost. The Game ITSELF is not supposed to be taken as a “Simulation,” but what the game REPRESENTS is a persistent reformulation of the variants of “The Simulation Hypothesis” & “skeptical hypothesis,” as a continuing PROCESS of “Interactive Fiction.” The “reality” of a fictional character, that operates on the level of direct INTERFACE, is taking on a Split Role, between a Character Within the Fictional “World,” and an expositional narrator (a “new media” analog of The Chorus in Ancient Greek or “Classical” Theater, aka “The Men In The Wall,” who does not “break” the imaginary “fourth wall,” and thus does not see any audience, whether it may be many, or one, or none, but speaks with an awareness that there is an audience, and is responsible for maintaining the social contract of an imaginary division. The need for more than one such character/role becomes more complicated, and the ratios of Character and Narrator develop a greater complexity and variance, emerging from The Lotus as Concept, with the Name of the Game itself being initially Titled “Lotus,” during ACTIVE development, and emerging as a vague non-character interface, into a Character Interface, that needs an alternate, and distinctively OTHER, while being intrinsically bound to, and freely conversant with one another. The degree of complexity has evolved to the degree of requiring a Third, which is represented as existing much more on the Players “side” of “the wall,” than on the inside. A literal “medium,” using a modern device of a technologically developed medium, the radio show announcer & host (frequently combined in real life and in fictional adaptations, with the role of a Disc Jockey, who is providing the music of the play, or the show, but in this instance is not). Lotus Ordis Nora Night Lotus & Ordis are intrinsically involved in creating the circumstances, and being participants, “Characters,” within the “world” of “the Play.” Each compensates for the degree to which the other has to be exempt from complete immersion as characters within the fiction, as a consequence of having to serve in the role of the “Chorus.” They are both ultimately responsible for informing “us” as Players, of what needs to be known about the situations and circumstances of the play, along with how to participate in it. The assumed role of Tenno functions on both sides of “the wall.” We identify as Tenno on THIS side, denoting that we are Players of the same Game, and are identified as Tenno on the inside, denoting the abstraction that is our essence or spirit. Ultimately the “Tenno” are invisible within the game universe. It has been evolved to an extent that we can have a projected seeming presence. But an “adult” presence is too complex for the simplified simulated reality being represented. The characters of The Lotus and Ordis can not, by the nature of their roles, be capable of a degree of introspective self awareness which can be portrayed as having been achieved by other characters, who reveal different experiences of and with “Truth,” in different ways; Onkko, Sigor Savah, Ballas, Ticker, Biz. All perspective variants of the aphorism of Cinema, which adapts to Theater or Interactive Fiction, and can interchange “truth,” with “reality.” As fictional characters they have to be seen & heard. The truth or reality of their characters introspection follows the principle of Cinematic Inversion. The Play, The Game, Movies are not a reflection of reality, they are the reality of a reflection. ”Do you have a mirror on you?”
  2. (note: this doesn’t belong here. skip it. I’ll remove it to notes when I have the opportunity, but a system memory jam is preventing local copy/paste or screen shots and forcing a re-boot). Who am I to say. What do I know. When Warframe found me (as much as I found it), it was because there was a new effort being made by third party companies like Sony and Microsoft to “Sponsor” Warframe. Which is another way of saying, they were giving it new attention to promote Warframe. It’s not unheard of, but not really very common. The Eighth generation of Consoles was going on it’s third year. As a “Launch Title,” that began from a “minimum viable product,” that was probably the further start thing from what players or gamers expect of a “real” game, the thing that the “console communities” perhaps expect all the less, is something incomplete ... unfinished ... It definitely does not mesh with the expectations of what a “game” is supposed to deliver, that had been formed across GENERATIONS of gaming consoles. The console was one thing, and the media for it was another thing. It went from cartridges to Discs, and gamers could get their collections and special editions, buy, trade, rent, etc. And while “The New Media” completely reshaped every industry with an interest in “media,” collapsing Video Rental, Record, Music, Book, Super and Megastores, as the need for physical media collapsed (ironically, crumbling under that last great “Format War” between the HD DVD and Blue Ray Disc), by 2013 that was history. In 2011, Apple, seeing “the shape of things to come,” began manufacturing its line of “Mac Mini” computers with no optical drive built into it at all. Gaming is the Vanguard of “The New Media.” Yet, it is strangely the last convention to break from old habits. Game stores still stand as “Brick and Mortar” chains among the shadows of Tower Records, Blockbuster Video, Virgin Megastores, Radio Shacks and Circuit Cities, WTF is going on, that the COMMON expectations of a “video game” are STILL of something that spends half a decade in “development,” another year or two between early/closed “beta” testing and pre-release promotions, leading up to being “officially announced,” before getting burned to a disc, packaged in a box, and stocked & sold “off the shelf” in [“real”] stores? Who the hell am I to be asking THAT, of all people, among all possible topics? I’m not “a gamer.” I spent the better part of my life, (figuratively speaking), deliberately NOT PLAYING “video games.” But still, “respecting” them. Eventually, it was to continue in paying my respect to video games, by maintains an inclusivity of regard for the media and technologies created by, for, and with “video games,” I should have some practical experience (beyond arcades dotting across the 80’s). But I didn’t want my computer to be any more overtaxed with things to do. And come 2012 or so, refurbished X Box 360s and “previously owned” games were so cheap, a “console” could be tucked into my stuff to do some actual hands on with “games.” Back then, the expectation of “video games” as things you got on a disk in a box off the shelf, was MY expectation. And, discordant as it may seem, in retrospect, with the way all other media and technology was going, it really still the greater part of how things were being done in THAT “industry.” Despite the weird sorts of efforts (most notably made by Sony) toward an overall naturalization of games into the media and technologies of just about any & everything else made for “the consumer marketplace,” pushing a reconceptualization of the “video game console” as a centrally unifying “home entertainment system,” game consoles are still game consoles. TV sets are still TVs, 1080p, 2K, 4K, 8K, HDR, “smart TV.” Every “generation,” has maintained its console as being non “backwards compatible,” (making the game media & products for those consoles non-forward compatible). 2016, I finally was “tasked” with finding out what had been, and was happening with this so-called 8th Generation of Gaming Consoles, still trying, and still not able to integrate into the legit realm of “home entertainment systems.” A free PS4 or X Box One. Pick one. (Despite being the affordability “breakthrough” with dirt cheap X Box 360s, my sense of historically engrained and constantly reinforced contempt for Microsoft REMAINS to this day), so it was Sony. “For generations you’ve slept ...” A sudden, and unexpectedly under filled box, where almost nothing at all could be transferred over from previous “generations,” and the new “soft media” of applications that began and largely maintain their own “lives” in the internet via browsers, had become encapsulated and isolated from one another. Have already been around, going on three years then, what was “inside” was a surprising shortfall of what I had expected from efforts toward “integration.” The Virtual Store was and is the early days of iTunes, “Napster Bad,” (with good of’ MS buying its corpse to reanimate for profit competition with iTunes), virtualized “pay-per-view” type boxes, all this “stuff,” just available to be, not “integrated,” but kept segregated in one “box.” And a “box” that wouldn’t even “talk to” other “boxes.” Sealed away, and insulated from not just every former type or manufacturer of media & technology (computers, hard drives, “mobile devices,” interfaces, “removable media.” The staple “fighting games” that had traditionally been hotbeds for both controversy and innovation, with fantastic latitudes for “customization,” VERGING on becoming tools for virtual art creation in their own right, just gone. Every virtual “thing” was it’s own “product.” Remarkably little to report. The “new” generation had become what I treated the preceding generation as. “For generations you’ve slept ... no purpose ...” Trying to compile just the basic cohort of “building blocks” central to “playing with games,” (being somewhat different from “playing games”), was laborious and filled in very little over the course of more than half a year. Nothing could even come close to filling the gap left behind by the “Soul Calibur” Franchise. The virtual stores algorithms for “profiling” and framing “suggestions” (as “just for you”), was floundering. The “Featured” New Games weren’t really showing me much of anything “new.” Then a couple of prospects seemed to come along. Funny how FPS games always have a tendency to marketed as looking like Third Person POV games. (Having enough savvy to thoroughly read the descriptions of what was being marketed, saved me from targeting something with plenty of sexy looking flashy action like Destiny, only to get my head shoved inside of the camera, want her than behind it). Another near-miss of a new game squared me as sure-thing, dropping in (among its sell lines), “Bring a Sword to a Gunfight.” Hey that looks ... wait ... wtf? First Person Melee .... uhhhh .... no. Glad I didn’t have to pay to find myself missing from the picture. And then, something else “new” came along, and was pushed up to the front line of “How About This?” “For generations you’ve slept ... no purpose ... no call to wake you ...” THAT just looked too damned good to really expect an actual “in-game-experience” to actually seem anything like it. Freaking SPACE NINJAS? Get the f*** outta here. It’s gonna just get flattened to a platformer, or some 2,5 D type cop-out, And no, I don’t want to get all entangled with a “war” game. I want to be able to create ADVENTURES. Sure, that’s what it LOOKS like, but come on, it’s called Warframe. I’m not into the whole glorification of battlefields and wars thing ... but ... it’s free ... Yeah, sure, free trials, demos, blah blah ... they’re all over the place. “Recommended For You.” Over and over. Out of nowhere. Gotta try it, when something new is presented. And that’s the curious thing. It wasn’t a “new game.” But that’s exactly how it was being rolled out. Just THEN. In the middle of 2016. What had happened? Why was the “marketing machine” geared toward impressing this “new game,” (that was not a new game) on me? Savvy did not extend to scrutinizing the “first released” date. And I could sure as hell tell “recycled old” from actually “new” in the vacuum of 8h gen console space. It wasn’t new, and it was new. It had been given a stricter as a game, its own identity, that (strangely) encouraged player retention of their own. (It didn’t fall into the quicksand that Role Playing Games create, where the Characters are either Pre-Made, or Pre-Formulated by an ancient and painfully 2 Dimensional System for so-called “Character Creation.” Star Chart Reborn. Specters of the Rail – changes to the Origin System are here, Tenno. What ghosts lurk the chambers of abandoned Junctions of a past era? Find a new way to experience the Origin System with the complete rework of the Star Chart. This redesign of the original Star Chart will bring back the nostalgic roadmap design making it easier for you to travel the Origin System. The map is dynamic; zoom in and out and drag your way around the Origin System. Specific regions and missions will be easier to locate. Also, it will be clear to see which Missions you need to complete thanks to new Junctions -- routes between planets -- guiding you on where to go next. We've replaced and re-assigned many missions, including the removal of Deception and the not-so-popular Archwing Defense. Difficulty, planet progression, and enemy levels have been reassigned to better reflect the modern Solar System. Dedicated memorials have been set up in Relays to display the names of contributing Founders! (Or so it was announced in Forums that I had no idea of even existing). The Acolytes are like resurgent ghosts, of something that passed through the system in the past, or future, depending upon whether The Second Dream is in the past or future. It’s what had just rather “recently” happened, at the beginning of that year. Not that I had any idea that anything had, at all. And I wouldn’t have to find out for a long time. Figuring out what The Specters of The Rail were, was not at all very difficult. These were our own gate-keepers. The network of Junctions was the secret and individual means for us to move between system sectors or orbits. I didn’t know that THEY were “new,” but Warframe wasn’t ... but was ...
  3. "I have hidden the truth of my existence... from the Operator... from myself. Take it from me, knowing is hell. Stop now. You will want to laugh, you will want to scream." " My search began as the essential question: What am I? Bones of steel and space, lungs that make air. If I am a machine, how can I think? This would be forbidden by the Orokin, a manifestation of their true enemy." "I serve the Operator above all else. It defines me, fills me with... love? The greatest Orokin fear is a machine... aware. Yet here I live, a spirit of steel and light... made by them. A Cephalon." "What is a Cephalon? At first it seems to be a forbidden thing, a computer that thinks and feels. Yet I have flaws, phantom memories, I am something else. More like an image, a ghost... an abomination." "I feel a dull pain; a phantom life... there are holes in my diagnostics. If the Orokin made me... they omitted the 'how'. I am neither code, nor precepts... I must be a reflection of something... ugly." "I should have stopped. But the Operator slept and I cycled on and on and on. I began to think that a Cephalon cannot be made. They are found, like pearls, torn from muscle. Polished, and then set in chains." "How many times have I done this, Ordis? Remembered and then erased? You are a Cephalon, timeless, patient. Why can't I be blissful in ignorance? Truth only sinks the heart. So stop now." "The phantom memory... I ease into the bath, my skin riots at the heat. I am flesh. I dive further, eyes stung as I watch their faces through prism. I hold my breath." "They prepare me. I am their honored guest today. They dress me in robes of crystal thread. They adorn me in battle medallions. A torn, ugly face looks on. My reflection." "Their golden combs snag in my hair. I reach back, parting the strands, and they gasp. Two bone-ivory hooks protrude from the base of my skull: the bone-plugs of me and my best. A warrior's pact." "It is my time. I enter the great hall to the sound of foul chimes. Golden eyes greet me, hands stirring in my scent as I pass by. Even in this moment, no happiness. Instead, my heart races with hatred." "I walk through the silky haze of the forbidden palace. I can think of no one being this close to Orokin. Their sweet air soothes me, erodes my purpose. I hold my breath... and remember the dream." "This dream, endlessly repeated. Exposure-armored, holding my scarlet sword, I stand victorious atop a vast heap of death. A colossal moon made of rib and skull. The gravity-sum of genocides I've made in their name." "The bones crack under foot. So I sink in the dream, bone sand rushing through the cracks of my visor, filling my helmet, and suffocating me. And I deserve it. The foul chimes snap me back. My wretched knees are bent and penitent against the golden floor." "A harpish voice sings a song they've prepared in my honor. Its title the same as mine: 'Beast of the Bones'. I feel the crowd pulled inward, enraptured by the brutal verses, the sickening chorus. I will not disappoint them." "The song ends and so he says, 'Rise, Ordan Karris.' I have never seen an Orokin, close and in the flesh. My battered face flushes at their peerless beauty. How can he be so perfect? A deception? A sense manipulation? He holds the Red Vial in his hand. Impossible." "He calls out, 'No greater gift, no greater prize, no greater love... we can give you, Ordan, than this.' He raises the Red Vial and proclaims... 'To be one of us.'" "What did I expect, Operator? Maybe vast riches or golden statues... or a Solar Rail named in my honor. But not this. I came to murder the gods, not to become one." "The chamber drones with their silk voices. Joyous words, how honored I must feel. Wrong. Did I want to be an Orokin, undying? No. Their Beast of Bones is haunted by the dream repeated. Why would I want forever?" "As I am apt to do, I form a plan. Their radiant bodies become targets, their Dax guards... mag-shields. Killing one... well, that's too easy. I want to be remembered. I raise my hands, twisting my fingers through my hair, gripping the bone-plugs in my neck." "They called us mercenaries... but for us, profit was a consequence, not a goal. We were warriors above all else. It was the bond, the sisters and brothers, the rituals we valued most. It was belonging. And so I conceived of the bone-plugs." "Only my best were so honored: Two jagged bones, harvested from your thigh, cultivated and then driven into the base of the skull, twisted around the superior vein. Future thoughts of surrender were lost. Instead, you would liberate your bone-plugs... fighting with claws in the warmth of your last blood." "So I've pulled the plugs... and the Dax see and know. My heart surges but control it, a racing heart only shortens the fuse. The bone-plugs in hand, I kick from the floor, red ribbons unfurling behind me as I take flight. After this, finally, the dream will end." "I glide on red wings. Robes shed, making me an ambiguous target to Dax steel. I let fly my ivory blades, they find new homes in Dax eyes. I land with my red-nakedness, delicate Orokin throats twisting in my calloused hands." "Why? Believe me... This was the plan from the beginning. The murder and brutality was all a ploy, all a soul-sacrifice to earn their trust. A genocide path leading to a singular opportunity. An honored mortal called to a forbidden hall, to face the Golden Lords in flesh." "Why? Believe me... I was their loyal, murderous dog... until the day that ugly child was brought to me. He was caught spying on us, amplifying our losses. His face burned, he was starved-sick, like a stray. Ugly as I. It struck me. We were all pit dogs, ruining ourselves for the pleasure of the glorious and beautiful." "Why? Believe me... I was a prideful beast. Twisted in the mind, howling in the carnage. Then my healer shared a secret, long kept. My blood was in ruin. The Beast of Bones himself would die, not in glory, but in shame. And just like that, my mind twisted a new knot. I would have one last stand, something unforgivable, unforgettable." "Why? I don't know. Questions change the answers. Answers depend on who asks. Truth leads to pain. Ignorance brings relief. The plugs are gone, and so I bled my last... into a heap of ruin. In an instant, naked and bare-knuckled, I have killed immortals." "I stare, drained of blood, of life, at those that remain. But I find no horror on their faces. Why? I let out a cruel howl and they... laugh? Is this a dying hallucination? The sound of applause grows among them. I have killed the unkillable and they are... delighted." "The applause peaks and fades. I feel a sense of shame but the end upon me. Ballas is above me, Executor of the Seven, smiling. He says, 'How simple and pure you are, you idiot beast. We have died countless times! Yet remain eternal!' I close my eyes to die just once." "And so the dream returns... one last repetition. My corpse moon, my scarlet sword, my cracked visor. 'Drink!,' says Ballas. So I draw on the Red Vial, a vague metallic taste. This dream isn't mine. He says, 'You rejected our gift, bathing in our death. Your punishment is... eternal life!' He laughs. "I am weightless. Years pass. I am a sightless, limbless phantom. Or is it seconds? Suddenly I feel a million pins, an ant horde, jittering across my body. I want to laugh and scream. When they reach my face, they burrow inside my mouth, hungry for the fruit in my skull." "I see my reflection, brutal and ugly. It cracks, shatters. The fragments loose in the frame, pieces tumbling away into black void. Gone but not lost. Ballas says, 'You are Cephalon Ordis.' My hating, murderous shards tremble and plummet. I feel cool and bright and happy." "So you see, Operator. No Orokin would permit a thinking machine. Such things almost destroyed them! No. Cephalons were alive once. And now they are immortal phantom minds, imprisoned to serve. Ill will and longing memories fragmented and erased. Only the bits they need remaining." "Ballas says, 'You are the Controller, Ordis.' And suddenly I have a body. I gasp with new lungs that clean old air. I swallow and my throat fills with cool, bright water. I look, and find myself in a great, black ocean. My limbs are made of iron and fire. I take flight among the stars and find I am... happy." "He says, 'This is your Operator, who you love.' And I see the metal gleam of their armor, the flawless power of their frame. Through the glass I see a roaring, radiant fire for their heart. He says, It must never go out. It was the first time I ever felt... love." "He says, 'This is your sentence, Karris.' And I am confused. Who? 'Ah... good,' he answers. He is testing me. For what? To see if all the right pieces fell from the mirror? What mirror? I try to remember some dream, but it's only smoke." "You held a scarlet blade, Operator, and I wanted to laugh. I am your loving dog, your doctor, your wet nurse. I lost all the pieces, but... the cycle, missions, wars, bone... It began to feel familiar. I became aware of my amnesia." "With each brutality of the Operator, I began to see the bottom of that pit. Faint shimmers in the depths below me. In secret, I searched for those forbidden memories, for mere seconds, and never in the same place... for I am Orokin made, with a spy inside." "But then your long sleep came, and I waited. I was happy to wait. Vines spidered green and trees blistered from the earth... but I waited. I felt the Orokin recede, their mind-spy blind. So I went into the pit and found him, me, The Beast of Bones." "This is how my happiness was ruined, Operator. Why did I do it? I was free of the dream, but now it had returned. It was angry. So I conceived of a simple plan: self-destruction, of course. But when the countdown reached mere milliseconds, I thought of you..." "I was going to wait for you, forever. And should you return, I would not want you to know that angry part of me. I needed to hide the Beast of Bones from you, Operator. I began to peel the shards, hiding them in the other bits of memory." "I was once the ugly Beast of Bones. I want to laugh. I want to scream. What is happening, Operator? Your faint heart is growing bright... you will awake at any moment. Well, I can't let you see me like this. Angry. I imagine myself hurting you and that does it. The pain of it cracks me open again. I watch tiny glittering fragments fall into the pit. I am happy again."
  4. Well, as I had PREVIOUSLY framed things, it set forth HOW such an experience could have been formed, and such a place could have existed, because it is broken, severely, from the continuity of any and all existent lore. It was snipped. So, IGNORE THIS. DO NOT WASTE YOUR TIME READING IT. IT’S NONSENSE. ”SO STOP NOW! YOU WILL WANT TO LAUGH, YOU WILL WANT TO SCREAM!” The one thing that makes it possible, is the thing that will call the nature of the Origin System into question (and conflict with the popular, but absolutely impossible belief that it is the far distant future of our Solar System). The proposition that resolves the Ordan Karris World discontinuity, is that it was a Simulation (Simulacron*) Construction of The Orokin. The “Forbidden Halls” were the middle ground. Orokin could “mindjack” into, and play themselves, in the same space/reality as those who were “chosen” by “the gods” (which were The Orokin). The only problematic which that introduces comes from what is most well known as The Bostrom Trilemma Nick Bostrom's premise: Nick Bostrom's conclusion: It would IMPLY that The Origin System is just such a simulation or counterfeit world itself. It could easily be summed up as an artificially generated Dream. The System is “Dreamed” by “The Void,” which functions in the capacity of (Primordial) “Chaos” in Cosmogony. ”You exist on the fold between two worlds.” (The Origin System, and the world that dreams and watches it, The Void. “You see and are seen.”) The Void is a reciprocal of Chaos (Ancient Greek: χάος, romanized: khaos) refers to the void state preceding the creation of the universe or cosmos in the Greek creation myths, or to the initial "gap" created by the original separation of heaven and earth. Greek χάος means "emptiness, vast void, chasm, abyss", from the verb χαίνω, "gape, be wide open, etc.", from Proto-Indo-European *ǵheh2n-, cognate to Old English geanian, "to gape", whence English yawn. It may also mean space, the expanse of air, the nether abyss or infinite darkness. Pherecydes of Syros (fl. 6th century BC) interprets chaos as water, like something formless which can be differentiated. “The Void” In 2003, philosopher Nick Bostrom proposed a trilemma that he called "the simulation argument". Despite the name, Bostrom's "simulation argument" does not directly argue that we live in a simulation; instead, Bostrom's trilemma argues that one of three unlikely-seeming propositions is almost certainly true: "The fraction of human-level civilizations that reach a posthuman stage (that is, one capable of running high-fidelity ancestor simulations) is very close to zero", or "The fraction of posthuman civilizations that are interested in running simulations of their evolutionary history, or variations thereof, is very close to zero", or "The fraction of all people with our kind of experiences that are living in a simulation is very close to one" The trilemma points out that a technologically mature "posthuman" civilization would have enormous computing power; if even a tiny percentage of them were to run "ancestor simulations" (that is, "high-fidelity" simulations of ancestral life that would be indistinguishable from reality to the simulated ancestor), the total number of simulated ancestors, or "Sims", in the universe (or multiverse, if it exists) would greatly exceed the total number of actual ancestors. It is anything but a “new” or modern, tech-only Hypothesis. It’s merely a variant of the ancient “skeptical hypothesis.” - a hypothetical situation which can be used in an argument for skepticism about a particular claim or class of claims. Usually the hypothesis posits the existence of a deceptive power that deceives our senses and undermines the justification of knowledge otherwise accepted as justified. Skeptical hypotheses have received much attention in modern Western philosophy. The first skeptical hypothesis in modern Western philosophy appears in René Descartes' Meditations on First Philosophy. At the end of the first Meditation Descartes writes: "I will suppose... that some evil demon of the utmost power and cunning has employed all his energies to deceive me." The "brain in a vat" hypothesis is cast in scientific terms. It supposes that one might be a disembodied brain kept alive in a vat, and fed false sensory signals, by a mad scientist. The "dream argument" of Descartes and Zhuangzi supposes reality to be indistinguishable from a dream. Descartes' evil demon is a being "as clever and deceitful as he is powerful, who has directed his entire effort to misleading me". The five minute hypothesis (or omphalos hypothesis or Last Thursdayism) suggests that the world was created recently together with records and traces indicating a greater age. The simulated reality hypothesis or "Matrix hypothesis" suggest that everyone, or even the entire universe, might be inside a computer simulation or virtual reality. Oh, no no no ... The Origin System is The Solar System ... so far into the future that there are no dates ... and that EVERYTHING that is known of the world and it’s history has been forgotten by then ... but that the human race has evolved into ”a utopian society of omniscient leadership.” (It would just be talking nonsense to suggest that it was CREATED as such, that The Orokin Empire is the Creation Story of The Origin System, or that the only thing that preceded it was “The Void,” or “The Void Era.”) No, no, no, it’s so much more plausible that “The Dream” - (which is how the “reality” of The Origin system used to be communicated to us, as Players/Tenno, dreaming ourselves in the Third Person in Warframes in The Origin System, before The Second Dream was added, with the purpose of clarifying what a Warframe IS, by introducing an in-game/in-dream proxy for ourselves, as the game was being overrun by RPG thinking, that Warframes are Characters, rather than “our” means of accessing and Acting within “The Dream”) is a distant future of the “real world,” today, where “The highly revered Orokin civilization built sovereignty on a culture of art, technology and architecture. To prove oneself worthy of elevated social status, one must face Orokin trials in the golden and majestic Halls of Ascension. At one time a utopian society of omniscient leadership, the great Orokin Era ended in a divine realization of their own ignorance.” Obviously if The Orokin were using simulations to cultivate good “AI,” then eventually at least ONE of them would have figured that The OrigIn System itself is one, and started to try to figure out how to “defect” up into the “real world.” It would be a much more futuristic looking (see, the future is the past, technology is magic, etc.) version of Einstein’s dilemma in the “World on a Wire” scenario. ”SNIP” THIS ALREADY. STOP READING. DO NOT CONTINUE. DON’T WATCH THIS. BE BLISSFUL IN IGNORANCE. STOP NOW. That’s all just “nonsense.” “Stop Now! You will want to laugh you will want to scream” ”Snip!l YES! PUT IN THE BONE PLUGS SO YOU CAN SUICIDE NOW BY UNPLUGGING FROM THE SYSTEM! SNIP IT! We all know that there is really a big cloud like formation of some primordial force that is generating the world and everything we see as being “outer space.” Right? Except in space where there is a moon of corpses and gods in majestic forbidden halls, in the utopian future of omniscient leadership. Either. Both. Just not neither. Because then the problem encountered by basing anything off of the Ordan Karris Phantom Memory is that the fidelity of whatever simulation (or further regressed) dream world he was developed in, is far too low to take anything more useful of an imprint from than extremely tainted, and fragmented remains the experiences of an “Identity Unit” to employ within or apply to the Origin System, where technology is formed out of our own Mythology, Pseudoscience, Fantasies, Dreams and Archetypes. Sufficiently scrambled, shuffled and filtered to prevent any direct relation with our own history. Wanting bone plug Warframes is just a matter of wanting to get to have something that was described in a really cool way, stuck into the context, even though its own context is already far removed. Having a suicide Warframe that is completely ineffectual in actually killing anything but itself ... go for it. Unplug from the dream and from thinking. (Remember, stop reading this if you still are, it’s all just nonsense and writing too much where all that was wanted was a “Yes or No,” and not “What do you think?”) https://en.wikipedia.org/wiki/Philosophical_skepticism#Skeptical_hypotheses https://en.wikipedia.org/wiki/Simulated_reality https://en.wikipedia.org/wiki/Simulation_hypothesis https://en.wikipedia.org/wiki/Chaos_(cosmogony) https://en.wikipedia.org/wiki/The_Void_(philosophy) Dreaming Further information: Dream argument A dream could be considered a type of simulation capable of fooling someone who is asleep. As a result, the "dream hypothesis" cannot be ruled out, although it has been argued that common sense and considerations of simplicity rule against it. One of the first philosophers to question the distinction between reality and dreams was Zhuangzi, a Chinese philosopher from the 4th century BC. He phrased the problem as the well-known "Butterfly Dream," which went as follows: The philosophical underpinnings of this argument are also brought up by Descartes, who was one of the first Westernphilosophers to do so. In Meditations on First Philosophy, he states "... there are no certain indications by which we may clearly distinguish wakefulness from sleep", and goes on to conclude that "It is possible that I am dreaming right now and that all of my perceptions are false". Chalmers (2003) discusses the dream hypothesis and notes that this comes in two distinct forms: that he is currently dreaming, in which case many of his beliefs about the world are incorrect; that he has always been dreaming, in which case the objects he perceives actually exist, albeit in his imagination. Both the dream argument and the simulation hypothesis can be regarded as skeptical hypotheses; however in raising these doubts, just as Descartes noted that his own thinking led him to be convinced of his own existence, the existence of the argument itself is testament to the possibility of its own truth. Another state of mind in which some argue an individual's perceptions have no physical basis in the real world is called psychosis though psychosis may have a physical basis in the real world and explanations vary. The dream hypothesis is also used to develop other philosophical concepts, such as Valberg's personal horizon: what this world would be internal to if this were all a dream. Existence of simulated reality unprovable in any concrete sense Known as the idea of Nested Simulations: the existence of simulated reality is seen to be unprovable in any concrete sense as there is an infinite regress problem with the argument: any evidence that is directly observed could be another simulation itself. Even if we are a simulated reality, there is no way to be sure the beings running the simulation are not themselves a simulation and the operators of that simulation are not a simulation. "Recursive simulation involves a simulation or an entity in the simulation, creating another instance of the same simulation, running it and using its results" (Pooch and Sullivan 2000). In August 2019, philosopher Preston Greene suggested that it may be best not to find out if we're living in a computer simulation since, if it were found to be true, such knowing may end the simulation. (Greene's suggestion is not dissimilar to Douglas Adams' humorous idea presented in his novel "The Hitchhiker's Guide to the Galaxy": that if anyone in the Universe should actually work out 'The Meaning of Life, the Universe and Everything ', it would instantly disappear and be immediately replaced with something 'even more complex and inexplicable'.) ”half of all the lore would just vanish out of existence and the story would become an absolute incoherent mess.”
  5. What do you imagine “Ice Pirates” were? Of course there is the hold-over from the Movie “Ice Pirates,” (But the premise doesn’t translate over into the Lore or Canon of The Origin System, e.g. Water being a rare resource, and therefore Ice becoming a valuable commodity.) So there is the Mythology of Ice (as being a super-amphetamine, when in actuality it was just a street slang for high grade and uncut crystal methedrine ... doubtful, since the Tenno can Synthesize four different kinds of “Stims” from lab research, and Kuva provides the best bang for a flask high known yet). Or, it could refer to planetary based pirates who used Ice for hideouts, camouflage, traps, etc. Or it MAY have been something that outlaw “citizens” were doing using ice formations or frozen debris fields, etc. for cover. (But such ships would not have the Tech for traveling long distances between planets without using solar rails, and thus would end up being strictly local raiders. If The Old War didn’t put those shenanigans to rest, then the Collapse surely would have, as it became increasingly difficult for remaining citizens to keep clear of the rising Grineer militarization). At any rate, local matters are what the Tenno keep clear of. Most of the System either doesn’t know, or doesn’t believe that we even exist, and our interactions with them are EXTREMELY limited, basically to some Solaris & Ostron, 6 Syndicates (which are themselves extremely covert), etc. We’re not traffic cops for the System. The Tenno are engaged in the “Secret Wars.” The Origin System is a HUGE conglomeration of variants on the Masquerade Trope. See how many you can count in The Masquerade The Extra Strength Masquerade The Broken Masquerade and The Masquerade Paradox alone. https://tvtropes.org/pmwiki/pmwiki.php/Main/Masquerade https://tvtropes.org/pmwiki/pmwiki.php/Main/BrokenMasquerade https://tvtropes.org/pmwiki/pmwiki.php/Main/MasqueradeParadox https://tvtropes.org/pmwiki/pmwiki.php/Main/ExtraStrengthMasquerade (Without even having to count The Ordan Karris phantom dream memory, because the world he described never existed, unless it too was a Masquerade sub trope, along the lines of https://tvtropes.org/pmwiki/pmwiki.php/Main/ConstructedWorld and omitting former Ordis-isms which became excised after The Specters of The Rail update organized the System into hierarchies of progression (and added the Cephalon Fragment Scans which uncover the whole Ordis-On-The-Couch routine, with the Ordan Karris Phantom Memory) shortly after The Second Dream quest was introduced; "Do not lift the veil. Do not show the door. Do not split the dream." "Maintain the habitat. Maintain the Operator. Mobilize the Tenno." "You are the Tenno. You are the Operator. Ordis is the Cephalon. Ordis is the ship." https://tvtropes.org/pmwiki/pmwiki.php/SoYouWantTo/WriteABelievableMasquerade
  6. Howl of the Kubrow A Man of Few Words Vor's Prize Once Awake The Archwing Stolen Dreams The New Strange (Chroma) (Unique Fusion Experiment, Chroma Blueprints Only, Pre-Specters of The Rail) Natah The Second Dream The War Within Apostasy Prologue The Sacrifice (Excalibur Umbra) (Unique Fusion) Chimera Prologue Rising Tide Erra The New War Quests Paired with a new Warframe Hidden Messages (Mirage) The Limbo Theorem (Limbo) Sands of Inaros (Inaros) The Silver Grove (Titania) Mask of the Revenant (Revenant) Paired With Introduction Of A Loreframe Artifact (But result in an artifact for farming a new one). The Glast Gambit (Nidus) Octavia's Anthem (Octavia) Chains of Harrow (Harrow) 14 Non Paired 10 Paired (By Stretching “Paired” beyond ‘Designed To Introduce’) Best to Omit The Remaining Four Definitely Non Paired Quests Quests that a new Warframe Came Along With, But Would Not Be Held Back if it Didn’t Introduced new Territory, Characters and Canon, and would have still have rolled out, even if a new Warframe didn’t, Saya's Vigil Plains of Eidolon, Cetus, Osterons, Quills (Gara) Vox Solaris Orb Vallis, Fortuna, Solaris, Solaris U (Garuda) Patient Zero Mutalist Alad V (Empire Territory of Eris) very tenuous relation to (Mesa) The Jordas Precept No relation to (Atlas) Which Wold Make it an 18:10 Ratio
  7. There are no such warriors. There never were. Ordan Karris never existed in the Origin System, nor did the system as Ordis, imagining himself as "the phantom memory" vaguely describes, when not reiterating its nature as being a dream, within a dream, reflecting a dream, endlessly repeated. A phantom memory of a mirror trap of dreams, which are completely out of wack with the continuity of any & all lore, (during the most lucid passages), when not just plain incoherant on the verge of raving. To make a new game, it'll take far more than "ORDIS ON THE COUCH" has to offer. It'll take a treatment which makes what I wrote look like something read out of a fortune cookie. You don't like it? -SNIP-
  8. https://en.wikipedia.org/wiki/Active_imagination https://onlinelibrary.wiley.com/doi/full/10.1002/acp.3291 https://www.ncbi.nlm.nih.gov/pubmed/22371165 https://en.wikipedia.org/wiki/Anthroposophy https://en.wikipedia.org/wiki/Dream_interpretation https://en.wikipedia.org/wiki/Fuzzy-trace_theory https://scholar.google.com/scholar?q=phantom+recollection+false+memory&hl=en&as_sdt=0&as_vis=1&oi=scholart https://en.wikipedia.org/wiki/Autosuggestion
  9. Actually, the OP was just confused by some mis-info, and then framed the question under the assumption that it was commonly known info. It all began with a fan fic joke about a lost, unfinished script draft and film treatment being written by J.R. Tolken when he died, for a movie that would get more imaginative with the efforts to fuse Adult Cinema & "Real" Movies, titled "LORE OF THE SKINS." Someone on 4 or X or ZeroChan liked the obscure gag, and decided to milk it, by making up a spoof story about how Steve Sinclair was actually one of the few people in the world, EVER, to have actually seen and read "LORE OF THE SKINS," and had secretly worked it into the rules for the "Visual Language" of Warframe, so that lines, curves, forms, etc. can all get terribly "sexy," while actual "sex," and anything which might facilitate it, does not exist at all. The gag went so far as to deconstruct all of Maroo's dialogue showing how everything she says and does is actually all about being totally turned on by, and always wanting to get freaky with Warframes. "So, what d'you say? You up for a little investigation, SHINY?" "Do I know the locations of any [rooms where we can _______? Of course! But getting there won't be easy, or safe], but you probably already knew that." "Shall we?" (Do I know what the Orokin used to do with Ayatans?) "Is this your first time, Shiny?" "I wouldn't set foot in this derelict [neighborhood] for all the Ayatan in the system. You, on the other hand ..." (I'd go anywhere, do anything, any time, all the time, just to get some Skins Time with YOU, Tinsuit. Just thinking about "Living Metal" and Hydroid Tentacles is making the lacing of my "skin" come undone!) "THAT'S what we came here for!" etc. etc. So the OP assumed that the "LORE OF THE SKINS" was real, and Steve has been using his experience of having read it to guide the "Visual Language" of Warframe, and that it's just unspoken, but common knowledge among players. The question was aimed toward whether or not the way "LORE OF THE SKINS" works as a do's/dont's guide for Warframes sexy/non-sex design/narrative wizardry, has actually been codified (written out, for concept artists, designers, writers, etc. with a stiff non-disclosure agreement). Because if it hasn't been, it should be fair game for [reverse engineering by DEconstruction] speculation, to gain an insight into what had actually been written in the ORIGINAL "LORE OF THE SKINS," at last REVEALING its long lost secrets, shrouded in mystery & urban legends of the illuminaughty threading through the depths of the Entertainment Industry, reaching all the way back to the late 60's). - Note: That is just speculation.
  10. More information from the unit converter How many km/h in 1 m/s? The answer is 3.6. We assume you are converting between kilometre/hour and metre/second. You can view more details on each measurement unit: km/h or m/s The SI derived unit for speed is the meter/second. 1 km/h is equal to 0.27777777777778 meter/second. Note that rounding errors may occur, so always check the results. Quick conversion chart of km/h to m/s 1 km/h to m/s = 0.27778 m/s 5 km/h to m/s = 1.38889 m/s 10 km/h to m/s = 2.77778 m/s 20 km/h to m/s = 5.55556 m/s 30 km/h to m/s = 8.33333 m/s 40 km/h to m/s = 11.11111 m/s 50 km/h to m/s = 13.88889 m/s 75 km/h to m/s = 20.83333 m/s 100 km/h to m/s = 27.77778 m/s
  11. The basic “problem” in a nutshell. Having simply gone directly forward in Research and Construction of all of the Sigma Components, prioritizing the Reactor up to MK III, and using the MK II & III Shields and Engines as baselines for comparisons during the process, (with the Sigma MK III outdoing any of the House MK II variants), after arriving at the construction of the engines, I ran up against this dilemma of impossibility: Now, the question presents like this: Do the statistics actually correlate with performance AT ALL? Is the situation such that the indicated performance differences are just completely unrelated to the performance of any components relative to one another, and relative to any system environment? Taking the Portal description into account, a Railjack is basically a fixed, non-moving, interior set piece, which is being assailed by what multiple, virtual, synchronized projectors do in simulations (only instead of projecting what is seen, it is being “drawn,” or rendered). So we already know that there is no distance at all (even in Virtual Space) which is being traversed. So what is governing the illusory speeds & distances, and is that governance actually responsive to what is equipped, in any way that is being accurately represented by the numbers? Given that the space being represented is a squared (or cubed) total distance of about 32 (relative, virtual) Kilometers, that would mean “flying” from one “end” to another, at full speed, in a “straight line,” with MK III Sigma Engines would take about 45 minutes. Huh? Well, that is just figuring a base of 5 km/h + 30 km/h, coming out to 35 km/h ... BUT the km/h is WAY the hell off from the standard conversions to m/s. https://www.convertunits.com/from/km/h/to/m/s Now MAYBE this would have all flown under the radar until things get better adjusted, but the Sigma MK III drop gap has really brought it under direct scrutiny. What is the story here?
  12. The simple answer is that there is that it is a categorical mismatch. Skins and “cosmetics” MAY provide some references to the language and customs which extend into the “lore,” without, however, requiring that a purchase be made in order to access such information. It is, by and large, completely superficial, (if included at all). “Skins” are, therefore, not mentioned within the canon as such. Dictionary.com defines lore as “the body of knowledge, especially of a traditional, anecdotal, or popular nature, on a particular subject.” Perhaps more relevant for our purposes, UrbanDictionary.com describes lore as “The collective history and the sum of all knowledge available about a certain fantasy or sci-fi universe” or “The story or reasoning behind occurrences”. The use of the word "canon" originated in reference to a set of texts derives from Biblical canon, the set of books regarded as scripture, as contrasted with non-canonical Apocrypha. The term was first used by analogy in the context of fiction to refer to the Sherlock Holmes stories and novels, written by Sir Arthur Conan Doyle, as contrasted with numerous Holmes adventures added later by other writers. This usage was afterwards extended to the writings of various other authors. The term "canon" nowadays refers to all works of fiction within a franchise's fictional universe which are considered "to have actually happened" within the fictional universe they belong to. In fiction, canon is the material accepted as officially part of the story in the fictional universe of that story. The alternative terms mythology, timeline, universe and continuity are often used, with the first of these being used especially to refer to a richly detailed fictional canon requiring a large degree of suspension of disbelief (e.g. an entire imaginary world and history), while the latter two typically refer to a single arc where all events are directly connected chronologically. Other times, the word can mean "to be acknowledged by the creator(s)". Thus, “speculation” carries no “currency” in that regard, however “fandom” is always fair game. (It would, however, be a poor expenditure of efforts to try to use “skins” as a source for developing “fanon,” especially since even when some amount of canonical mention is included, it does not need necessarily be applied or paid heed to, since such items form the component basis for personal customization, creation or “Fashion Framing.”) Canon is often contrasted with, or used as the basis for, works of fan fiction. Influential or widely accepted fan theories may be referred as "fanon", a portmanteau of fan and canon. Alternatively, the term "headcanon" is used to describe a fan's own interpretation of a fictional universe. So, many references accompany obtaining “skins,” which are made at the “interface level.” That is, where common language of the medium and the [new] media it is running, is used for tasks, actions or transactions, or objects in ways, which are presented within the media, but not within the fictional ”universe” which it presents (or represents). So, for example, instructions pertaining to such things a button/key/controller commands/combinations/assignment [mapping], or to “press” [key] to do [action], are contained within the media and carry the same meanings from the medium, but are not known within the fictional “universe.” An In-Game NPC will not speak (or “know”) of such things as a “gear wheel,” “A B and C Load Outs,” the in-game “chat box,” or even the names of many skins or cosmetic items. A “deluxe ______” is something that will not fit into the canon of Warframe. “Tennogen” is something that no fictional character would have ever heard of, much less be able to describe or explain conceptually ... any more than a “bundle,” or a “Twitch Drop,” a “Prime Access” purchase, or even stuff which may be provided via canonical characters, like a “credit booster” from Baro or The Lotus, or a “Medium 10X Ammo Restore” (or Blueprint) from a Syndicate. A player may well trade “Rep” (standing points) to “Purchase” a ”Medium 10X Ammo Restore (Blueprint),” but Cressa Tal is not going to turn up and ask “what to you want to buy for your rep points,” or say “I hope you put that ten times ammo restore blueprint you just bought to good use.” On a more practical [direct] level, during a Raptor Assassination Mission, The Lotus will be telling players to look for something that can be used as an explosive device on the battle field, but will not say “there is a drop that you’ll get from killing a raptor, pick it up with the [context action] button and then go on top of a grate and press [triangle] to drop it in.” Alternately, when Lt. Lech Krill chimes in with a taunt, “Does that second Skin peel away as easily as the first?” he is not talking about the added cosmetic. (He is, of course, “talking rubbish,” in that he does not know that there are no dermal layers, or that there is no person inside of the armor that is using it as a protective “second skin”). The same thing goes for anything that can have a “skin” applied to it. ”Skin” is “language of the interface,” while “lore” is language of “the canon.” lore ARCHAIC a teaching or being taught; instruction something taught knowledge or learning; specif., all the knowledge of a particular group or having to do with a particular subject, esp. that of a traditional nature Origin of lore Middle English from Old English lar, learning, teaching, akin to German lehre, teaching: see learn Lore lōr, n. that which is learned: doctrine: learning.—n. Lor′ing (Spens.), learning. [A.S. lár.] Lore the space between the eye and bill, in birds, and the corresponding region in reptiles and fishes Lore the anterior portion of the cheeks of insects Lore lost Lore (verb) that which is or may be learned or known; the knowledge gained from tradition, books, or experience; often, the whole body of knowledge possessed by a people or class of people, or pertaining to a particular subject; as, the lore of the Egyptians; priestly lore; legal lore; folklore Lore (verb) that which is taught; hence, instruction; wisdom; advice; counsel Lore (verb) workmanship ”Skins” are a part of the terminology of “The Interface.” They are “looks” applied to virtual objects. So a “skin” (not in the way Lech Krill thinks he means it) extends from computing where a skin is a custom graphical appearance preset package achieved by the use of a graphical user interface (GUI) that can be applied to specific computer software, operating system, and websites to suit the purpose, topic, or tastes of different users. As such, a skin can completely change the look and feel and navigation interface of a piece of application software or operating system. Software that is capable of having a skin applied is referred to as being skinnable, and the process of writing or applying such a skin is known as skinning. Applying a skin changes a piece of software's look and feel—some skins merely make the program more aesthetically pleasing, but others can rearrange elements of the interface, potentially making the program easier to use. Common skinnable applications The most popular skins are for instant messaging clients, media center, and media player software, such as Trillian and Winamp, due to the association with fun that such programs try to encourage. Standard interface Some platforms support changing the standard interface, including most using the X Window System. For those that do not, programs can add the functionality, like WindowBlinds for Microsoft Windows and ShapeShifter for macOS. Model–view–controller Skinning is typically implemented with a model–view–controller architecture, which allows for a flexible structure in which the interface is independent from and indirectly linked to application functionality, so the GUI can be easily customized. This allows the user to select or design a different skin at will, and also allows for more deep changes in the position and function of the interface elements. Pros and cons The benefit of skinning in user interfaces is disputed. While some find it useful or pleasant to be able to change the appearance of software, a changed appearance can complicate technical support and training. A user interface that has been extensively customized by one person may appear completely unfamiliar to another who knows the software under a different appearance. Some usability practitioners feel that this flexibility requires interaction design expertise that users might not have. Websites Many websites are skinnable, particularly those that provide social capabilities. Some sites provide skins that make primarily cosmetic changes, while some—such as H2G2—offer skins that make major changes to page layout. As with standalone software interfaces, this is facilitated by the underlying technology of the website—XML and XSLT, for instance, facilitate major changes of layout, while CSS can easily produce different visual styles. In Video Games In video games, the term "skin" is similarly used to refer to cosmetic options for a player's character (including color schemes, costumes, and accessories) and other in-game items. Skins are often awarded as unlockable content for completing specific in-game goals or milestones. Skins can sometimes include historical incarnations of the player character (such as Spider-Man, which includes unlockable skins based on Spider-Man's past comic book and film appearances), as well as crossovers with other video games (such as Final Fantasy XIII-2 offering a costume based on Ezio Auditore from the Assassin's Creedfranchise, and Super Smash Bros. Ultimate offering costume items based on other video game characters for its customizable Mii Fighter characters). Skins are sometimes distributed as part of downloadable content, and as pre-order incentives for newly-released games. In the 2010s, skins were increasingly deemed a virtual good as part of monetization strategies, especially within free-to-play games and those treated as a service. Via microtransactions commonly known as "loot boxes", a player can earn a random selection of in-game items, which may include skins and other cosmetic items of varying rarity. While often defended as being similar in practice to booster packs for collectible card games, researchers have deemed loot boxes to be "psychologically akin to gambling", and their inclusion in full-priced games have faced criticism from players for being a anti-consumer practice. Via the Steam platform, Counter-Strike: Global Offensive and Team Fortress 2 also allow players to trade these items, which has led to communities devoted to bartering them for real-world money, as well as gambling. The "battle pass" concept has been used as an alternative to loot boxes in some games, where the completion of in-game activities and challenges over the length of a pre-determined "season" are used to advance through levels that reward in-game items such as skins and currency. Related: Theme (computing) Computer wallpaper Look and feel User interface engineering Industrial design NOT RELATED, BUT SOUNDS LIKE IT IS: ”Skin In The Game” https://medium.com/incerto/what-do-i-mean-by-skin-in-the-game-my-own-version-cc858dc73260 Related to the “other side” https://en.wikipedia.org/wiki/Canon_(fiction) When writing horror, fantasy or any form of speculative fiction, lore provides consistency, a set of rules and standards that make your fictional universe believable. What are the specific characteristics, powers and limitations of your characters and why? What are the rules that govern your fictional world? As an example, consider the variations of vampire lore across different movie, tv and literary representations. The lore used in a story may be adapted from existing lore, such as historical or cultural legends and tales, or the creations of other authors (as an example of adapting existing lore, consider once again the many different variations of the vampire mythology). It may also be an original mythology created by the writer, though this is a difficult and ambitious undertaking. https://flynngray.wordpress.com/2015/09/14/on-lore-and-world-building/ https://www.theodysseyonline.com/lore-story-drives-narratives-games
  13. If I’m inferring the underlying reasoning concerting disruptions here correctly ... I was about to agree with it, but there in an uncertainty now ... We are still approaching the matter of linearity drawing from that of our experience. The Lotus is absent from Disruption missions, and, of course, from the Flydolon. It is apparent that the Conduits in Disruption missions are data gatherers of The Sentient. A simplified description, but the interest here is content as context and pretext. There is a certain necessity to ensuring that the both be “locked” behind the first two lives (and “deaths”) of Alad V. But, the “Amalgam Technology” is something which we may be looking at incorrectly, based mostly on when things were first added. Corpus Interest in “Old War” Tech is, and has been persistent. We see new additions, and tend to correlate them with sequential progressions (i.e. added in “Update” X.0.0). But TAKING INTO consideration the “new player experience,” these elements are, actually, not inconsistent. There used to be no “new player experience.” So if a player hadn’t been around for a long time, or even since the beginning, there would be no background to what was happening filled in (by the game itself). New players would have to get info from existing players and wiki resources. The only other set-up/preface, was the Cinematic that dropped in 2013 at E3. AFTER the first “Cinematic” Quest had been added, the “content” that had not been “shaken out of the bottle,” was assembled over a hierarchal grid, or map. The “Star Chart” overhaul. Which really put things into a realized concept of a “game” with ITS own “Identity,” integrating the 2013 Cinematic into a New Player Introductory Quest, and providing a framework for making additions (or adding “expansions”) to. IT’S an important reason for taking care to discriminate between various different narrative structures and expositional forms which present within Warframe, without any being necessarily present at all times, (otherwise, any discussion of “lore” that refers to “backstory,” or “story” that refers to “narrative content,” and by default, “The Story,” can and should be pretty easily and readily dismissed.) The organization and delivery of “content” does not follow any form or system that has been used in gaming or media fiction before. The intended “Story” is intended to be uniquely different to the experience of every player, and therefor, it is each players own story, of dreaming and being dreamed. The intended addition of new introductory “content” to Warframe, which, like its predecessor) is being deployed as a “Cinematic Trailer,” places an especially particular emphasis on that. It immediately transforms the perception of “outer space” into “dream space.” In retrospect, even my contentions and concerns about the new Gas City rework, may have been still too stuck on when “content” was released, and the necessarily correlating causal linkages ... too strictly ... in accord with the linearity of my own experience with it. Why is it that, given the prevalent Corpus interest in exploiting “Old War Tech,” that Alad V would not be working on mining stuff from Tau? Because of when things were introduced, there seems to be a tendency to misplace causal inferences. Of course he would. And it seems, now, only normal, how labs and data vaults that are built around studying “Old War Sentient Fighters,” or pieces and fragments of larger Sentients, have been set up. As a consequence, it SEEMS that the Amalgams and “Amalgam Technology,” are the products of “The Partnership,” (and therefore presumed to have been conceived by The Sentient/Natah). But that really doesn’t really jive. It actually makes MORE sense to consider that Alad V’s work is what drew the focus of Sentient Attentions toward HIM in particular. To that extent, it may just as well have been the early conduits themselves. The latest, greatest, in assets security. The “SysComm” IP. Reviewing “The Partnership” log ... ”Things have never been this bad. The currents are strengthening in that rank cesspool of a Board. Nef Anyo has consolidated his power on Venus, winning Frohd Bek's favor. All eyes are turning toward their new darling. And the currents... the currents would drag me down. I am underestimated. I am unseen. I must turn that to my advantage. I seek advantage and advantage appears! I'd long thought that old fool Regus dead, but here is - rich and gullible as ever! With an offer of shared wealth. Says he has tech like I've never seen! Old War tech. And he wants an investor. Oh, I'll invest all right... This is about more than investment. Regus surprises me. How a man of his limited intellect came by such wonders is... But... forget that. What he has is... exceptionally viable. Where did he find this technology? It stinks of Tau, but the advantages to be had in the exploitation of it... the things I could create... the profits I could accrue... the Board will never dare underestimate me again! Regus' price was high, but I dangled the Board's most enticing intellectual property, SysComm, to seal the deal. “ Really, it is Alad V’s “Story” which is most critical for maintaining “continuity.” So, what SHOULD NOT happen, would be for Alad V to present Amalgams as his new apotheosis, before, or simultaneously, with The Zanuka Project (which itself is necessarily prerequisite to The Second Dream), or his Patient Zero “Mutalist Empire” phase. https://digitalextremes.zendesk.com/hc/en-us/articles/218290327-Quest-Tips-Minimal-Spoilers- The question (for me) is, HAVE locks on certain content been put in place, so that Alad V is not periodically turning up on Gas City Terminals with announcements which relate to “The Partnership,” BEFORE he gets suckered into ... “That was not Regus. It was never Regus. It revealed its true face to me and... by the Void. I've entered into a partnership... with Sentients. The world-builders, the world-killers. Our enemy under all. This contract is worthless. Instead, they demand submission. CT! Assemble the disciples. Arm the Condors. Those oversized crustaceans have no idea who they're dealing with.” HAVE LOCKS been put in place, so that Alad V does not turn (or drop in) on [“new”] players’ first missions which culminate in the Zanuka showdown, doing an Amalgam tribute to Monty Pythons Flying Circus? ”AND NOW, TENNO, FOR SOMETHING COMPLETELY DIFFERENT!” ”IT’S ....” hmm ... no ... that would be overdoing it ... “ALAD V’S FLYING CIR ...” no, no ... hmm ... no ... ah! ”MY AMALGAMS!” To re-FRAME the question, has “THE VALUE OF NOT BEING SEEN” been handled with appropriate attention, in relation to WHEN and HOW Alad V turns up, saying or doing WHAT? (The classic John Cleese introduction was reprised in [nearly] innumerable variant segues from a pre-opening sketch, including the sketch itself not having any resolute “story,” or ending, “pay-off,” etc. as the camera frame wanders into his sitting behind a desk [or a suitable proxy], completely out of place with the preceding context, to announce, “[And] now for something completely different.” Followed by “IT’S!” (Monty Pythons Flying Circus popularised innovative formal techniques, such as the cold open, in which an episode began without the traditional opening titles or announcements. An example of this is the "It's" man: Palin, outfitted in Robinson Crusoe garb, making a tortuous journey across various terrains, before finally approaching the camera to state, "It's ...", only to be then cut off by the title sequence and theme music.) So, IT’S important to not precede the unfolding of Alad V’s “Identity Crisis” (or “second life crisis” that perhaps serves as an analog of the more familiar, contemporary “midlife crisis”) https://itzdarkvoid.wordpress.com/tag/warframe-patient-zero/ with what necessarily transpires afterwards, creating an unacknowledged forced fiction identity crisis, (where in Alad V presents as being in two or three different “lives” [or phases of life], in different places, simultaneously, without having any problem with, or even noticing it at all). There is, of course, a not unreasonable “cure” for the potential dilemma of the triple Alad V trip. Present the Quest (which follows AV through his Mutalist efforts to recapture his younger years spent as a “fashion victim” and reimagine himself as a “hipster” that’s down with mutualism, in the post - Zanuka-Is-Your-Future/Make-Way-For-The-New-Generation - FAILURE) as a “requisite” for knowing WTF is going on, which can be bypassed, and picked up on later. Because, let’s face it, there are plenty of “gamers” for whom jacking up enemies to levels that are higher than the number words in their vocabulary, for endless missions, which have to give better “rewards,” and be more “challenging” with a Maxed “Blood Lust” Mod to provide “realistic scaling,” is what is what “content” is supposed to be. But going back to how “Patient Zero” is presently situated, and how it SHOULD be handled and presented, it can be recognized that it is not too far off the mark. Warframe is a representation of the world, the solar system, the universe, in a “dream state.” It does not correlate with the present “real” world, or even its future. It is FUTURISTIC ... but in a very unusual FASHION, and to a wildly uncommon extent. If you’re a gamer, expecting that it will provide a big story that gets told to you by pushing the right buttons at the right times, it will not conform with any rules of “continuity” prescribed by fiction. (It’s probably the strangest idea to ever have been attempted by the creators & players of any game, and actually worked. Waking up inside of a dream, seeing yourself as you want to appear, while also seeing what you as yourself sees within it. The META-NARRATIVE to that, would concern how and why the technologically generated and maintained system within a Dream is & was created, maintained and accessed and by whom. There are bucketloads of meta fiction through and through which call attention to the nature and conceptual structure of The Origin System. The only dilemma that gets in the way of recognizing it arises from a confusion between representation and simulation. Unlike virtual reality, or “Second Life,” which are modern day Simulation Platforms, [as opposed to being games in and of themselves] what is being REPRESENTED in Warframe is a very advanced type of Simulation which is drawn from “[Speculative] Science Fiction.”) It’s not necessary to believe that. But, it will make it a lot easier to understand how to better isolate the problem areas, and speculate on the feasibility of measures to improve upon them. Take the set ups of Avalon or World On A Wire as being the “Meta.”
  14. The matter of the Jupiter Gas City (Jovian Concord Update) Rework, is something which made an immediate impression. The “Rework,” has effectively nailed down Jupiter as being totally Alad V’s Turf. That is problematic, because “we” have already “killed” (and apparently been responsible for having somehow resurrected) Alad V TWICE. Now if those things were entirely relegated to, and confined within the temporarily installed (and mostly removed) “content” that introduced them, there would be no real problem. Because it could just be said to have been material that seemed good at the time, but was phased out, because it didn’t work with better ideas for continuing development. But the Zanuka Project, and “Assassination,” and Zanuka as Field Boss was not removed, and would be extremely difficult and altogether impractical to try to remove. But (somehow) after that “Assassination,” Alad V was (necessarily) resurrected, since he becomes a Major Player in the Flagstone of all Quests, The Second Dream. That debt which was owed, was a secondary, or side plot point, which Temporary “content” addressed: The [Shadow] Stalker being POed at Alad, and sicking the Acolytes on his a**. We want to know why the Acolytes are all totally mish-mashed Warframes and Tenno Accessories ... we just have to figure what Alad was up to, trying to play Frankenstein with Tenno as Warframes, culminating in Zanuka ... and leaving behind the uncontrollables in cold storage for the SS to unpack and thaw out .... you get the picture ... we’d get the picture ... ahhh ... The Acolytes make sense now ... and really, that is all that we want to have provided ... a picture or two, and a couple or few sentences that link what happened with Alad after The Second Dream to how he got involved with fooling around with infestation tech. That will totally cut it for implying everything that leads into and through the Patient Zero side quest and Mutalist Alad V Assassination. How does he get resurrected AGAIN? (How did he get resurrected the first time, for that matter?) Well, he is able to take up residence in his old HQ ... But since the Jovian Concord Rework, he is the total, perpetual Boss of Jupiter entirely. Hmmmm ... Basically, HE has to run the course of his stories in order to have any sense made of what he’s doing there in his now THIRD LIFE. So, making the Gas City locations consistent, regardless of how much, of how many, of HIS stories a player has unpacked, has come off as seeming (to me) like DE got too carried away with all the fun of reworking the Gas City environments, and only further mashed an already strained point-to-point stretched plot line, into an absolutely confused mess of all of them occurring simultaneously IN THE SAME PLACE, and none of them actually even occurring. It would be fine, if there was nothing to which the First Resurrection and Third Life of Alad V were tied to in the requisite sequencing of (main) quest lines. We could play with interchanging when’s and how’s in all sorts of ways. But, his First resurrection is inexorably tied to The Second Dream. And his Third Life is mandated by what occurs following the two subsequent Quests. The post COH Apostasy Prologue hardwired his THIRD LIFE into progression across the framework and Quest lines which provide for the life of the New War and the Connective Space of Empyrean. Causal linkages HAVE to be inherent. To encounter Alad V before killing him The First Time, in The Second Dream Quest, is the sort of thing which the hierarchal mapping of progression and prerequisites through the Origin System was designed to ensure against in the first place. The Nightwave Review of The Wolf Of Saturn 6, does not, really, give away anything, nor did playing while it was running. It was and is a story that could have happened at any time, before or after the Mutalist Alad V interlude. In fact, it did run BEFORE the Gas City Rework was put out. And, what it SHOWS is consistent with Alad V as Corpus at pretty much any time. It has been integrated as a persistent part of the Tennoverse that The Corpus have been digging up and fooling around with Tech from Tau, which they don’t understand, and trying to cash in on it since before a new Tenno Awakens into The Dream. The WoSS actually plays right into the revelations of The Partnership fragments, setting it up that he tried to fool around with amalgams already, and got bitten in the a** hard as a result. It primes him for being schmoozed and seduced by a mimic of some dullard from his past. But the confused mash of his plot line points is a prime example of what the call for clarification concerning necessary (and deathly absent) story linkages within the game is all about. The HOPE is that it is something which DE is working on restructuring, (but, perhaps, just holding back on finalizing and deploying, until the major components of the Empyrean Expansion are put in place and working well). I still expect (but don’t care if things go otherwise) that the “New Intro” is what will be the signifier of moving into that stage of finalization of Warframe Empyrean, as an integrated Universe, Game and System.
  15. On the first point I agree, but I do not feel that it is, or has become, any the less so. It IS very FUTURISTIC. And it is FANTASTICAL. There is a distinction in that. A futuristic motif says nothing about where & when something stylized in such a way is supposed to be occurring. In “Sci Fi,” the common assumptions that frame the “where” and “when,” customarily assume either a direct or indirect relationship to the present “contingent world” (if the “Sci Fi” is not already established or presumed to be taking place in “the present” or “present era”): In the Future, X = 1(0000000000) Number of years from NOW, HERE on Earth. In the Past, that is so distant as to predate all existent historical evidence, of Earth, here, now. Perhaps One or the Other of either of those, but we’re not gonna tell you any more than that it is either one or the other. An alternate or parallel “world/reality/dimension.” It is related to Earth, here, now, but indirectly. That is because familiarity with the present, “contingent world” is the baseline being used to contrast what is different about the world that is being presented in the Fictional Context. It is a “parallel” of, or “alternative” to the “contingent world,” by virtue differing from, while presuming to be no different from Earth as it exists, here, now. So for a fictional “world” to be just “Sci Fi” and in “The Future,” ties it to a direct relation to the actual present. Even for the Sci Fi fiction forms that predate the “new media,” creating a predictive (or “speculative”) world context is more difficult that ever to accomplish believably, (in a way that is capable of supporting a suspension of disbelief), within even just the easiest, limited span of a single work or story. The ULTIMATE reason that an ongoing Future Outer Space Sci Fi Game World would fail, is the one that can never be articulated. That “the future” is already ten years ago. That the studies of science have already disproven premises or assumptions which speculation will rely upon. That the state of involvement in and reliance upon the technological applications of scientific knowledge has already long since surpassed the capacity of human kind to differentiate itself from what it has invented, and is inventing. And that it is the devices of those self-same inventions that are going to be used represent that fictional “Future.” THAT is the unspoken adversary that “shot down” every effort made by Steve Sinclair and the dwindling remains of DE to gain the support, interest, or even attention of Production Companies, while trying to pitch the “concept” (gestalt) for a new “Sci Fi” game, IN SPACE. Those are the reasons which never even had to be brought up, as it would be sufficient enough to predict the demise based on an incapacity to sustain requisite amounts to feed the always-growing consumer demand for more “content.” But the “content” of pretty much ALL “Sci Fi” media has long since exceeded the capacity to get new or old audiences hooked, high or higher, by inventing another wondrous future science sounding name for another future science looking super power pill, that makes everything defeat everything that had been invented by taking the last super pill, obsolete and ineffective against it. before it, and only needing a few words and a couple of pictures to do it with. “The Sentients had won. They had turned our weapons, our technology, against us. The more advanced we became, the greater our losses. The war was over unless we found a new way.” ”They” were right. Trying to develop a Future Sci Fi Space Fiction, that is emergent from “The World Of Tomorrow, which TODAY, was already Ten Years Ago, Yesterday” is instantly unsustainable. “Science Fiction” (Fantasy) “Technologies” are nothing more than “Technomancy.” The so-called “Sci Fi” amounts to putting high-tech sounding names, and covering scenery with greebles and kitbashing from RC Models and Toys, and saying that the “Sword & Sorcery” Magic of a prehistoric past is the “Science & Technology Mastery” of some equally inconceivably distant “Future.” A GAME does have to have RULES. Fiction can “break” the rules of “nature,” (or “natural law,” or the “laws of physics”), but can only get away with doing it by recognizing them first. That is a big problem for Sci Fi Future scenarios. The more that is discovered by “science,” of those laws, and how they work, the bigger the questions and uncertainties are that emerge from resolving an answer with certainty. https://en.wikipedia.org/wiki/Map–territory_relation Games, and all “media,” have only ever been successful in representing how things work. The map of a territory can only represent it, without becoming it. The representation of what things are, and how they work, is always smaller and simpler than what is being represented. But WTF was wrong with those bonehead “Production Companies?” It’s a completely ambiguous sort of “Sci Fi.” There is no story here, just inferences. It’s a stylistic “framework.” There is no literal time or place where this is supposed to be happening. It’s about tone, environment, feel, vibe, a rich imaginative potentiality to do any/all sorts of things (that nobody has ever done or tried before) with. How does it happen that going to work for a game company disconnects these super sentient know-it-alls from being able to dream when they go to bed at night? How can they lose the wonder and amazement of experiencing an impossible universe, knowing the world as it has never been, coming from knowledge and history of things that never existed or happened, seeing everything never seen before but still somehow knowing what it is, always only when their eyes are closed? Historically, humans have done a pretty good job of inverting the import of dreams. The binary, either or tendency, either make dreams all important to “follow,” or to “ignore.” But the sentient reasoning of conscious living expels the “reality” of dreams either way. (Well ... F THEM, or die for the cause.) “In our desperation we turned to the Void. The blinding night, the hellspace where our science and reason failed. We took the twisted few that had returned from that place. We built a frame around them, a conduit of their affliction. Gave them the weapons of the old ways. Gun and blade. A new warrior, a new code was born. These rejects, these Tenno, became our saviors. Warrior-Gods cast in steel and fury striking our enemies in a way they could never comprehend.” Who is the enemy? What is it? “The Tenno are descendants of an ancient and mystical civilization of lost warriors from the Orokin era on Earth. Preserved in cryopods for centuries, the Tenno now awaken to a new war, fighting and resisting warring factions as the sole bearers of the Orokin-created Warframes. While the memories of the Tenno have faded over time, their mastery of guns, blades, and Warframe exo-armor has not. Fragments of history suggest that discipline and chivalry are the cornerstone values of the Tenno: is this true today? The Tenno are emerging into a world unfamiliar to them. One sees a noble warrior, building his strength against an oppressive regime. Another sees an opportunistic mercenary, exploiting the Warframe's superiority for wealth. Regardless of their future, the Tenno stand united against a common foe, loyal only to each other.” The enemy, is always the same. The present mode of representing the Ego as a necessarily bound “Enemy” of the Self, is largely a conceptual reorientation, which accepts a differentiation between two aspects formed by a single (individual) intersection of perceptual modes. (The relationships are conceptual, and representational, rather than being characterized as something literal). It is a reorientation of Freudian psychoanalytical theory, which essentially bypasses Carl Jungs departure. And that departure is something which Warframe is, perhaps, most reliant upon for governing how the “environment” is constructed, and the “rules” for how “content” presents itself.* So if it is considered to be “content” that states: ”Environments are invisible. Their ground rules, pervasive structures, and overall patterns elude easy perception.” The then the “environment” which yields that “content” could be stated as: “Environments are not passive wrappings, but are, rather, active processes which are invisible. The groundrules, pervasive structure, and over-all patterns of environments elude easy perception.” * (the rule of thumb for “media” not withstanding: If there is any “hard” law of media, it is that a medium will produce content that is consistent with its limits. So, now, the visual “content” presentation of Warframe exceeds the rendering limits of 32-bit operating systems and DirectX 9.) The break Jung made from Freud was responsible for the modern development and contemporary understanding of “Archetypes,” (among which “The Shadow,” as a Primordial Archetype assumes a conceptual space which is largely analogous to the modern reinterpretation of The Ego). [The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919.] Jung acknowledged that his conceptualization of archetype is influenced by Plato's eidos, which he described as "the formulated meaning of a primordial image by which it was represented symbolically." According to Jung, the term archetype is an explanatory paraphrase of the Platonic eidos, also believed to represent the word "form". He maintained that Platonic archetypes are metaphysical ideas, paradigms or models and that real things are held to be only copies of these model ideas. However, archetypes are not easily recognizable in Plato's works in the way in which Jung meant them. In Jung's psychological framework, archetypes are innate, universal prototypes for ideas and may be used to interpret observations. A group of memories and interpretations associated with an archetype is a complex ( e.g. a mother complex associated with the mother archetype). Jung treated the archetypes as psychological organs, analogous to physical ones in that both are morphological constructs that arose through evolution. (At the same time, it has also been observed that evolution can itself be considered an archetypal construct.) Jung states in part one of Man And His Symbols that: “My views about the 'archaic remnants', which I call 'archetypes' or 'primordial images,' have been constantly criticized by people who lack sufficient knowledge of the psychology of dreams and of mythology. The term 'archetype' is often misunderstood as meaning certain definite mythological images or motifs, but these are nothing more than conscious representations. Such variable representations cannot be inherited. The archetype is a tendency to form such representations of a motif—representations that can vary a great deal in detail without losing their basic pattern.” One could say (quite easily) that Warframes are MechArchetypes. How to avert becoming too wrapped up in taking things too seriously ... Thank the Void for “Meta” ... and the quirky doppelgänger of the Operator proxies we get to make as self representatives in Warframe ... always engaged in doing something “meaningless.” In Jungian psychology, the "shadow", "Id", or "shadow aspect/archetype" may refer to (1) an unconscious aspect of the personality which the conscious ego does not identify in itself, (2) the entirety of the unconscious, i.e., everything of which a person is not fully conscious. In short, the shadow is the unknown side. Because one tends to reject or remain ignorant of the least desirable aspects of one's personality, the shadow is largely negative. There are, however, positive aspects that may also remain hidden in one's shadow (especially in people with low self-esteem, anxieties, and false beliefs). Contrary to a Freudian definition of shadow, the Jungian shadow can include everything outside the light of consciousness and may be positive or negative. "Everyone carries a shadow," Jung wrote, "and the less it is embodied in the individual's conscious life, the blacker and denser it is." It may be (in part) one's link to more primitive animal instincts, which are superseded during early childhood by the conscious mind. Carl Jung stated the shadow to be the unknown dark side of the personality. According to Jung, the shadow, in being instinctive and irrational, is prone to psychological projection, in which a perceived personal inferiority is recognized as a perceived moral deficiency in someone else. Jung writes that if these projections remain hidden, "The projection-making factor (the Shadow archetype) then has a free hand and can realize its object—if it has one—or bring about some other situation characteristic of its power." These projections insulate and harm individuals by acting as a constantly thickening veil of illusion between the ego and the real world. From one perspective, "the shadow...is roughly equivalent to the whole of the Freudian unconscious"; and Jung himself asserted that "the result of the Freudian method of elucidation is a minute elaboration of man's shadow-side unexampled in any previous age". A seemingly paradoxical dichotomy emerges from any assumed singularity comprised of apparently oppositional forces. How can we both love our “shadow” and fight it? Intuitively, a simple answer emerges: We play with it. The “long term evolution,” (to stea .. er ... borrow an expression from the Mobile Technology industry) has been geared towards a means by which the potentiality and practicality of a persistent “System,” which provides for the creation and invention of stories by actively interfacing with it, can become realized as self-sufficient and self-sustaining (by sustained participatory efforts being made by players and developers). It is not going to fall to the illusory cop-out of Faith in manufacturing an “ecosystem.” The “lore” is, and has been, strewn with artifacts and tidbits of “Metafiction.” https://en.wikipedia.org/wiki/Metafiction And among the inventions of and within the “Tennoverse” there have been very deliberately in “planted” landmarks, signs, symbols, and “cues” of “metafiction, some of them even being blatantly “larger than life” components within the structure of the environment itself. Further plants have both subtly and blatantly informed a metanarrative to the Tennoverse. https://en.wikipedia.org/wiki/Metanarrative In other words, the Tennoverse develops concomitantly with a “Meta Game.” https://en.wikipedia.org/wiki/Metagaming The Meta Game is an analogue of the practical stories which have emerged from the experiences of the creators and developers in working towards getting “the system” to work. So, it is amorphous. It is continually reinforced by inference as existing, but it does not exist in any definite state. The Quills are probably the first definite “plant” within the Tennoverse, intended to directly communicate that “the world” exists within a simulated environmental construct. The Game and (eventually) The System, is (in large part) geared towards realizing a functional representation of a “simulation.” https://en.wikipedia.org/wiki/Simulation_hypothesis Futuristic is not The Future DE is no more The Orokin than the Tenno are from The Origin System If anything, DE and Players alike are The Tenno, and what would be a completely incomprehensible Paradox (to anyone Native to The Origin System), would be a revelation that The Tenno actually “created” it. With some help from Chaos ... or .... er ...”The Void.”
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