![]() This shows that the High Wills is merely a passive being that grants prayers, but grants them to suite the person at will, thus forming the Miracle around the Twisted One's need for penance. ![]() So what can we discern from there? That the Miracle was birthed with the help of the Twisted One's thoughts of penance, and it was fully formed through the nature of the High Wills, who took no sides. From there the tree sprung up and twisted around him, granting this penance in the form of pain, and from there the Miracle was born. It is important to note that the Twisted One never prayed to the Miracle, but rather prayed to the High Wills instead for penance in the form of pain to absolve his guilt. The legendary first miracle that sprung about the religious atmosphere and inherently fucked up nature of the entirety of Blasphemous. Now let's look at the Twisted One, or Twisted Father. However praying to these High Wills seems to be a lot safer than to go directly to the miracle The High Wills, on the other hand, is extremely passive, and doesn't seem to be featured in a lot of prayers or in a lot of sayings. If any of you should know, the punishment option is usually the most obvious choice, and even the forms of "blessings" are extremely twisted and seem to a different variation of a curse. This is because that the Miracle is known for being extremely dangerous in which case if you give yourself to the mercy of the Miracle, you will either be blessed or punished. Notice that these three were cursed by the Miracle and yet chose to pray to the High Wills rather than the Miracle. The High Wills is the Father, in which he is probably the oldest among these three entities and has been mentioned a bit by specific figures, mainly by Laudes (Stir of Dawn DLC cutscene), Soledad (Ghost in the brotherhood of the silent sorrow that gives you additional rosary beads) and the Blessed Lord of the Salty Shores (Accessed through fountain). As a commentator on a Blasphemous lore video once said, it is probably best to view these three as a sort of variation to the Father, Son and Holy Spirit in Catholic/Christian beliefs. ![]() Now let's look at these three specific figures in the Blasphemous universe. The High Wills, The Twisted Father and the Miracle Penitence continues and although this is a "good" ending, inherently nothing has changed. However this is not the end yet, as Deogracias says that "Penance never ends", and shortly after that we see Crisanta, who managed to flee the fight with the Penitent One, pull the sword out of the Penitent One and then proceeds to excommunicate him, effectively making his entire ordeal useless as the penitence has not ended, but rather continued under a new figurehead, which is effectively what the miracle had planned to do, by framing the Penitent One not as the one to take away all sin, but another object of what a true penitent is like, similar to the Twisted Father. In this same way, with the Penitent One taking it upon himself to take all the guilt into himself, he effectively absolves the people of punishment and needing to constantly be at the will of the Miracle at all times, thus ending an era of pain and suffering. To those who do not understand the reference, this is a parallel to the death of Jesus, where he absolved the sins of all through his death, erasing everyone of Original Sin and thus allowing people to ascend into heaven. ![]() This leads to him becoming a new religious symbol and shows him being brought around the nation similar to that of the Twisted One. ![]() The ending involves the Penitent One reaching the throne and stabbing himself with Mea Culpa, effectively turning into a tree. Why would we need to fight Escribar again even after he ascended as the final boss of the game? Better yet why do we see the three saints who guarded the Wounds of Escribar appear after the Penitent One has killed him? The more I thought about it, and after reading through some things and watching some videos, I think I can finally come to a conclusion on how this game is going to end, and possible links to a future game, most probably with Crisanta as our protaganist.Īs most of you should know, the current real ending for Blasphemous involves not only killing Escribar and ascending to the throne, but also breaking all the confessor statues to absolve all the guilt from within them, which strengthens our Mea Culpa to the point where it complete and becomes the Custodia of Sin, or the "keeper of sin". With the now current Wounds of Eventide in play, it honestly got me thinking. ![]()
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![]() ![]() These coin bonuses are balanced by the multitude of destination tickets with large point values: six of them are worth 29+ points while another seventeen are worth 17-26 points. If you've taken a loan, however, you're ineligible for this bonus scoring, so players have an incentive to build early and often. In a five-player game, for example, the player with the most coins scores a 55 point bonus the 2nd place player scores 35 points, and the other players 20, 10 and 0 points. In addition to helping you avoid loans, coins matter because at game's end, players receive a bonus based on how many coins they hold relative to everyone else. ![]() ![]() Visit our award-winning Brisbane store or shop online for fast flat rate. Players start the game with 30 coins, and if you can't pay a toll, you must take a loan card to cover the fare, with each loan costing you 5 points at the end of the game. extend the adventure with the Ticket To Ride The Heart Of Africa expansion. On a single route or the first track of a double route, the player pays this toll - which costs 1-4 coins - to the bank on the second track of a double route, the player pays this toll to the player who built the first track. Second, every route - whether double or single - has a bridge toll that a player must pay when building on that route. Both of these routes are in play no matter how many players are in the game. Set in the African wilderness at the height of its exploration, Ticket to Ride Africa focuses on the central and southern parts of the continent displayed. First, nearly every route on the game board is a double-route, with two tracks connecting cities. The basics of TtR gameplay remain the same as always - players collect train cards in order to claim routes between pairs of cities with the overall goal of completing tickets they hold in hand - but Ticket to Ride: Nederland twists this gameplay in two ways. Ticket to Ride Map Collection: Volume 4 - Nederland contains a new game board with new rules for use with Ticket to Ride or Ticket to Ride: Europe with players now creating train lines in the Netherlands. Players can draw terrain cards just like train cards and they may use these to double the value of the routes they claim, under certain conditions.PLAYERS 2 to 5 | MINUTES 30 to 60 | AGE 8+ Each type is associated with different route colors: Desert/Savanna cards for yellow, orange and red routes Jungle/Forest cards for green, blue and purple routes and Mountain/Cliff cards for black, white and grey Routes. This expansion introduces 45 new terrain cards, divided into three different terrain types. A Ticket to Ride Map Collection: Volume 3 The Heart of Africa egy knnyen tanulhat kiegszt a Ticket to Ride trsasjtkhoz, 2 - 5 jtkos rszre. ![]() Set in the vast wilderness of Africa at the height of its exploration by intrepid explorers, missionaries and adventurers, Ticket to Ride Map Collection: Volume 3 – The Heart of Africa, a single-sided expansion map for Ticket to Ride or Ticket to Ride: Europe, focuses on the central and southern “heart” of the continent displayed in a vertical format. This changes the way players must draw cards, and adds quite a bit of value to the wild cards, with the gold at the end of the rainbow being the extra points players score for the terrain cards. But in this game, I wanted the cities to have as many routes of the same color into them as possible. In all other versions of the game, I had tried not to have any city connect by more than one route of any color (except grey). Ticket to Ride Map Collection: Volume 3 - The Heart of Africa, a single-sided expansion map for Ticket to Ride or Ticket to Ride: Europe, focuses on the central and southern 'heart' of the continent displayed in a vertical format. It added a third deck of terrain cards, giving players a choice of drawing train cards or terrain cards each turn.īut the bigger change was to the board. It did so in two very distinct but related ways. Ticket to Ride The Heart of Africa was the first expansion to really change the basic game significantly. TICKET TO RIDE The Heart of Africa Designer’s Notes ![]() ![]() ![]() You'll need to visit your local CA Department of Motor Vehicle office and complete a new Driver License or Identification Card Application. You cannot renew your California driver license more than 90 days after it has expired. Expired, Suspended, or Lost License Expired Driver's License NOTE : You can renew in person more than 6 months before your CA driver license expires, but you'll need to submit your current driver's license to the California DMV for cancellation.
![]() ![]() Label.FontFamily = DeviceInfo.Platform = DevicePlatform.iOS ? "MarkerFelt-Thin" :ĭeviceInfo.Platform = DevicePlatform.Android ? "Lobster-Regular" : "ArimaMadurai-Black" įor more information about providing platform-specific values, see Device information. Label.FontSize = DeviceInfo.Platform = DevicePlatform.iOS ? 20 :ĭeviceInfo.Platform = DevicePlatform.Android ? 22 : 24 Text = "Different font properties on different platforms" The DeviceInfo.Platform property can be used in code to set font properties per platform: Label label = new Label The example below sets different font families and sizes: The OnPlatform and On classes can be used in XAML to set font properties per platform. ![]() For more information, see Display font icons. The equivalent C# code is: Label label = new Labelįont auto scaling also works with font icons. The FontSize property can be set to a double value: The equivalent C# code is: Label label1 = new LabelįontAttributes = FontAttributes.Bold | FontAttributes.ItalicĬontrols that display text can set the FontSize property to specify the font size. The equivalent C# code is: // Use font nameĬontrols that display text can set the FontAttributes property to specify font attributes: Registered fonts can be consumed by setting the FontFamily property of a control that displays text to the font name, without the file extension: Īlternatively, it can be consumed by referencing its alias: In addition, if you want to include files from sub-folders too, then configure it using additional wildcard characters, for example, Resources\Fonts\**\*. The * wildcard character indicates that all the files within the folder will be treated as being font files. However, in this scenario their build action must be manually set to MauiFont in the Properties window.Īt build time, fonts are copied to your app package. Alternatively, all fonts in the app can be registered by using a wildcard in your project file: įonts can also be added to other folders of your app project. This creates a corresponding entry in your project file. ![]() In the example above, the first argument to the AddFont method is the font filename, while the second argument represents an optional alias by which the font can be referenced when consuming it.Ī font can be added to your app project by dragging it into the Resources\Fonts folder of the project, where its build action will automatically be set to MauiFont. Then, on the IFontCollection object, call the AddFont method to add the required font to your app: namespace MyMauiAppįonts.AddFont("Lobster-Regular.ttf", "Lobster") This is accomplished by invoking the ConfigureFonts method on the MauiAppBuilder object. True type format (TTF) and open type font (OTF) fonts can be added to your app and referenced by filename or alias, with registration being performed in the CreateMauiApp method in the MauiProgram class. These properties are backed by BindableProperty objects, which means that they can be targets of data bindings, and styled.Īll controls that display text automatically use font scaling, which means that an app's UI reflects text scaling preferences set in the operating system. The default value of this property is true. FontAutoScalingEnabled, of type bool, which defines whether an app's UI reflects text scaling preferences set in the operating system. ![]() The default value of this property is None. FontAttributes, of type FontAttributes, which is an enumeration with three members: None, Bold, and Italic.However, this default can be changed, and additional fonts can be registered for use in an app.Īll controls that display text define properties that can be set to change font appearance: NET Multi-platform App UI (.NET MAUI) apps use the Open Sans font on each platform. ![]() ![]() ![]() Other Italian governments have delayed ships' arrivals to get agreements with other European Union countries to take migrants before they land, or conducted inspections that the charity groups argue seek to prevent them from conducting rescues.Īrticle 98 of the United Nations Convention on the Law of the Sea requires every shipmaster “to render assistance to any person found at sea in danger of being lost.” Charity ships say rescuing migrants from flimsy, unseaworthy smuggling boats, or in many cases straight from the water, is their legal obligation. Another case against him has been dismissed. Salvini, who is infrastructure minister in charge of ports in the new government, is facing trial on charges of kidnapping for refusing to let the Spanish migrant rescue ship Open Arms dock in an Italian port in 2019. A German captain, Carola Rackete, famously defied Salvini and entered an Italian port despite orders not to, citing an emergency situation on board. Salvini's refusal to open ports resulted in ships having to travel to France or Spain to disembark migrants, adding up to three days to the migrants’ journeys. The new government’s confrontational posture is reminiscent of the standoffs orchestrated by Matteo Salvini when he was briefly interior minister from 2018-19. HOW HAVE PAST ITALIAN GOVERNMENTS HANDLED RESCUES AT SEA? Often, they say, national authorities never answer their calls for help. ![]() The groups have denied the claim, saying they followed correct protocols to inform the authorities - in Italy, Malta or Libya, depending on the search-and-rescue area - once a boat in difficulty has been identified. Piantedosi claimed they did not await instruction by search and rescue authorities. Italy's new far-right-led government paved the way to closing its ports to private rescue ships by telling port authorities that two of the ships - the Ocean Viking and the Humanity 1 - did not follow European norms while carrying out rescues. Humanitarian groups, maritime legal experts and human rights activists all reject that interpretation of a flag state's jurisdiction. Italian Interior Minister Matteo Piantedosi described the ships as “islands” and anyone on them as falling under the jurisdiction of the flag countries. It says that responsibility falls to the countries whose flag the ships fly. Italy says it is not responsible for taking on migrants rescued by charity rescue ships. WHAT IS ITALY'S FAR-RIGHT-LED GOVERNMENT SAYING ABOUT RESCUES? ![]() A fourth boat remains in international waters for the 17th day with 234 people on board, it's requests for a safe port unanswered. The reason for the different treatment was not immediately apparent. A third charity ship, carrying 89 people rescued at sea, unloaded all of the people it rescued in Calabria on Tuesday. Those boats are now refusing to leave until the rest of the migrants are allowed to get off as well, but Italy is not budging. Two charity rescue boats that entered Italian waters this weekend were directed to the Sicilian port of Catania, where Italian authorities allowed the disembarkation only of migrants it deemed vulnerable - families with children, unaccompanied minors and people needing medical care. WHAT IS GOING ON NOW IN THE MEDITERRANEAN? ![]() Here are some of the issues behind the standoff: Italy claims the flag countries of the ships are responsible for taking on the migrants and that charity vessels just encourage people-smuggling. Nongovernmental organizations, as well as human rights and international law experts, say vessels are legally required to rescue people in distress and coastal nations are required to provide a place of safety for them to disembark. MILAN - Italy’s new far-right-led government has blocked humanitarian rescue ships from accessing its ports, resulting in a standoff with charities that patrol the deadly central Mediterranean, rescuing people in trouble at sea. ![]() ![]() Bot edits tend to be things like mass template or parameter renames, automated typo fixes, whitespace adjustments, and the like - high-volume, low-impact, low-interest edits that someone who wants to stay current with the wiki’s “actual” changes is likely to consider to be “irrelevant spam.” The first filter in particular is of interest: “Human (not bot).” In other words, we’re filtering out edits that are tagged as “bot” edits. Let’s take a look at the recent changes filters on Wikipedia: In the introduction, I mentioned that the name “bot passwords” is derived from the practice of using bot accounts to perform automated edits - but why even bother doing this? It’s all about avoiding spamming recent changes. After you see this screen one time, you’re unable to get it back if you lose the password part, you have to recreate it. The actually secret part, the token part, is available when you create the password on a visible-only-once screen that you can copy-paste it from. Here’s a current screenshot of all my bot password names on Leaguepedia:Īs you can see, there is no sensitive information here. So there’s the bot password name (aka the bot password) and the bot password…password. Each “bot password” has both a “name” part and a “password” part. The terminology gets even more confusing here. Later on we’ll elaborate on the last point extensively. Unique - you can have MULTIPLE bot passwords per account.An account (it’s tied to your existing account).A bot (it’s not software, it’s just a string).A password (you can’t use it to log into the site) - but you should TREAT IT LIKE ONE because someone CAN use it to GAIN ACCESS TO YOUR ACCOUNT.If you go to Special:BotPasswords while logged into any wiki on a version of MediaWiki at least as recent as 1.27, you will be given the opportunity to create, edit, or delete any bot passwords you might want. Thus, a bot password is a way to tell the MediaWiki API who you are without using your actual account’s credentials. Your human (personal) account can have one or more bot passwords as well. So what actually is a bot password?įirst of all, the name “bot password” exists for historical reasons and not because the name is descriptive non-human accounts that perform edits are called “bot accounts,” and so when humans make automated edits from their own accounts those are also referred to as “bot edits.” How do you log in to perform automated edits? Why, with a “bot password,” of course! Note that the logic is not bot account -> bot password the logic is automated edit -> bot password. Note: I’ve previously contributed to the Gamepedia help wiki page about bot passwords, and some of the content here will overlap with content there (at least at the time of publication). Also, a deep understanding is the best way to remove a need for easily-forgotten memorization, so I think the detail here is appropriate. ![]() ![]() ![]() This article is rather indepth for what should maybe be a very brief and simple concept, but I think the terms are so poorly named in MediaWiki that a full explanation is warranted to prevent any lingering confusion that could lead to mistaken beliefs. If this is a non-technical article, but also not a brief tutorial, then who is it for? This is intended for anyone who has to work with bot passwords frequently and occasionally feels like they are just reciting the components of working with one, rather than really understanding each part, or falters when trying to explain it to someone else. If you want to read technical manuals, read those three links instead of this blog post I’m going to take a non-technical approach here (!). A “ bot password” is a method of authentication that you can use to log into the MediaWiki API. ![]() ![]() Three films in, and director Mathew Puccini has pretty much covered the gamut of queer experience. Many of the scenarios are surprisingly moving, like the guy who just wants to see a pretty girl call him “honey” and “love.” The film shows the coupe lugging camera equipment around their California home, interviewing the performers, and recounting customers and requests that stuck with them. Customers approach them with fantasies, whether to explore a specific fetish or to revisit an erotic childhood memory, and the Humes then craft them into bespoke porn. ![]() Though they began their career in mainstream porn, the duo soon recognized an opening for user-designed content. This funky little documentary explores the world of custom-order porn, a niche filmmaking enterprise designed by married couple Dan and Rhiannon Humes. They’re all available online, though you’ll have to head over to YouTube for the more explicit titles, and each one has its own unique vibe. ![]() Whether it’s a feminist genre take on actual bloodlust, or a comedy about an erotic encounter where the two people never touch, these films celebrate the full spectrum of human desire. While mainstream Hollywood struggles to address human sexuality in any meaningful way, these four recently-released short films explore sex and desire with a refreshing playfulness. What’s more, younger and emerging filmmakers naturally have a finger on the pulse of more progressive ideas, ensuring a broader range of perspectives. Most filmmakers begin to craft their voices with shorts, and given the significance of making a strong first impression, the format encourages creative risks. With any luck, the new reality will broaden movie lovers’ horizons enough to include short films, which U.S. Audiences can now experience a wider variety of films online, opening a world of possibilities that will hopefully benefit smaller films. As film festivals pivot to the ever-shifting landscape of distribution and sales, the way we consume independent film is changing more dramatically than anyone could have predicted. ![]() |
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