Last night I went to a bday party of a really nice colleague. I didn't know what to expect and who else would be there except the people he shares two huge houses with. It's a big community where everyone has their own flat but shared spaces like kitchen, etc. It's in the middle of nowhere, very beautiful with a massive garden, horses and so on. So, I arrive and I didn't know anyone. It's no problem for me since I am good at communicating and blending in, but this bday really took a toll. Everybody who was there was a parent or a parent (my colleagues has no kids - yet) to be, and it was basically trying to figure out to whom I can talk to. There were so many children, like so many children, what I don't mind, they had fun in the garden and in the pool, but ofc, talking was difficult with all the screaming.
I gifted my colleague a nice boulder ball since he is totally into bouldering. That stuff was not that cheap - anyway, doesn't matter - and he was happy and put it aside for later since you had to build it first to use it. It is not a toy. One of the kids found it and took it and poured the entire box into the grass to see what it is. That was the moment when I decided I won't stay that long.
A bit later - I found a nice woman who was the mum of two of the screaming kids who enjoyed our talk since it was not about kids but herself, her life, what she did before the kids - suddenly people started to jump into the pool. The kids followed, came out, and took their clothes off, all of them. The youngest was three up to 12 years, and stayed that way the entire evening. I started to feel really, really uncomfortable now. In a way, I do envy those kids for their innocence and freedom, but the amount of naked butts and uhm genitals was too much for me after a while. They were always in my face - the kids liked me - and there was a point when two girls of 8 and 9 started to roll around on my blanket among adults and you could see everything, and I mean everything. The adults didnt care, and I felt so intimidated that I decided to leave.
I think I am a super prudish person since last night, and I am in a terrible mood. The entire evening was just so difficult and I have nothing in common with any of them. I travel as a passion, I do Muay Thai, I am this super strong and independent woman who always believes there is more to life. And now I just feel bad, and need to get over last night. Am I prudish? Anyone ever experienced the same?

Loving this game so far but one thing in the story meta is a little strange, wondering if this is bugging anyone else. I have been progressing through the game in the order I thought was logically intended by devs. I did the whole master sword quest before starting the regional phenomenons and temples. Anyone else do this and notice how strange it makes the story play out?
So link collects all the dragon tears, he sees first hand exactly what happened in the past, most crucially 2 things: first off, ganon is perfectly capable of manifesting zelda doppelgangers to cause trouble, and more importantly, that zelda sacrificed herself and became a dragon so she could restore the master sword and bring it to link in the distant future. The dragon cutscene was awesome, love this cutscene a lot. But does link even understand what he saw? Or remember?
Because he sees all this and then embarks on his journey where literally everywhere he goes people say theres trouble afoot and they saw zelda and she seems personally involved. And he never brings any of this up! Which is so weird to me, made weirder with things like the pirates of lurelin village, you can find npcs agonizing over the state of the village but if you've already beat the pirates link will explain that the problem is already solved and the npcs will react accordingly. So link is perfectly capable of remembering and explaining story events to bystanders when he wants to, i guess. But never in regards to the zelda mystery for some reason?
So it gives the impression that link is keeping dragon zelda a secret? Which is weird considering how much of the entire continent is curious and asking and investigating this exact situation! Why wouldn't he tell anyone, even impa or pura about this? Is he in denial about his girlfriend turning into a dragon? I haven't beaten the game fully so maybe I'm missing some crucial element that would explain why this is.
I was also kind of hoping zelda would return to human form once the master sword quest was over but.. She didn't, so this leaves link in this awkward situation almost everywhere he goes because everyone everywhere is looking for her! Yesterday i was talking to someone at a stable who said they saw zelda causing trouble with horses or whatever and on the horizon link could literally see the light dragon flying around. But his lips were sealed, the princess dragon situation is classified. On a need to know basis and apparently the entire country doesn't need to know. i am very amused that he just goes along with letting people believe these doppelgangers causing trouble are actually her and never bothers to explain what happened.

A while ago, I posted a test that was to determine what kind of writer someone is, based on what part of the “modernist” spectrum they fall into. Part of the reason why I did this was to see how much I understand about the subject matter, since I will always have a postmodernist tell me that I am clueless as to what any of these are. Another reason is to have writers start realizing why they think the way they do, and possibly start questioning why they write how they do. I found out that, from the dozen or so people who took the test and posted their results to me, that most people I encounter and get along with online are modernist. A lot of these people reject mainstream media and they are secluded in alternative media sites because they don’t get along with the current overton window that’s among popular sites. I think it’s safe to say a lot, if not all, of these people are anti-woke, and they received 1 or 0 answers on the woke aspect of the test.
If I can pat myself on the back for anything, at least I can say I got the woke part correct.
Although the buzzwords I used for woke might be cheating since we all know I’m referring to something woke when I say something like “inclusivity” or “intersectionality” or “oppression”, because anyone who listens to even something like Joe Rogan will know these terms and treat them like they’re dripping with vomit and diarrhea. A lot of us, especially the classical liberal, center to center-right types, and even the center-left types, are tired of this woke nonsense. Even some guy who drinks beer while watching football and shopping at a basic store like Target is tired of this tomfoolery.
So this followup is to address a lot of the complaints I received and also to bring in some insight into how I wanted to conceptualize the test and how it turned out. I will also explain the relevancy of this type of test since some are wondering why something like scoring modernist means anything.
In philosophy, you are to hit 5 branches in order for your philosophy to be considered “full” or at least “full enough” to be granted a name. These 5 are:

1. Metaphysics (study of existence)
2. Epistemology (study of knowledge)
3. Ethics (study of action)
4. Politics (study of force)
5. Aesthetics (study of art)

If you hit all 5 of these at least once, you have a full range of addressing the stuff that makes up a philosophy. I tried to reverse engineer these 5 categories into 22 questions, and after the fact(meaning this evening), I realized that I should have had 4 questions for each category and then 2 questions about the reader and then the writer. The number 22 is related to the major arcana in tarot, with the 2 extras being the fool(the writer) and the world(the reader). That or maybe something like “what exactly do you write in your story?” and then that can relate to worldbuilding or something. It would have to be a question that lets us know what the person sees as a good world to write in the first place, because then that would show us the world they aim for, which is related to their worldview.
Or maybe to question what they read so that we can see what a writer finds interest in, so that it correlates with what they would write.
That was not critiqued by others, but I know I messed up on that. I was listening to a Jordan Peterson video where he said that a good survey questionnaire takes months of planning to get the wording right for the questions and the answers, and I looked at my test and saw I did it in a day, and went “well, I think I messed up, yeah.” My own critique will be taken into consideration so that I can remake the test and make it better. To repeat what I said in the test: I wish to use this to determine who to avoid when hiring and working with people, because anyone scoring even something like 2 answers on the woke mentality is something to be concerned about.
Other critique involves question 1 where the phrase “copy it” should be changed to “emulate it”. Yeah, I agree, that makes more sense, since copy makes it sound like someone is not putting their own spin on it or putting it in their own words. Imitate, match, resemble, something that intends to retain the purpose but including your own position on the matter. Question 17, how we get our knowledge, is a very open question about epistemology, and that one seems to have given a few people the woke answer by accident, even if they aren’t woke in the way they answer. The problem with the term “lived experience” is that people think it’s a normal term and it is one of the few woke terms that go over some people’s heads. The term is used commonly in correspondence with articles that feature globohomo artwork and they talk about how it’s important to have a person in your corporation or non-profit organization who holds “lived experience” and they are referring to living as a black person to know what a black person feels.
I find this incredibly woke because, as I’ll explain further later on, the woke are saying that the only way to know something is to be that thing, thus forcing writers to be, say, autistic in order to write an autistic character. Or they must be a woman to write a woman. Or they must be a black to write a black. This enforcement is what causes the demand for diversity hires, because somehow these diversity hires hold mystical magical knowledge that nobody else in the company would even dare to understand or comprehend unless they checked off some boxes first. On top of that, the term “pragmatic action” was poor wording and that’s my bad. I was trying to say something like “scientific realization” in order to attach the modernist to science. Something that is both pragmatic(able to be done practically) and part of some kind of education/training. You’ve done it, you’ve learned about it, you see others do it, that can be the modernist idea of knowledge.
Other than those two, I think every other question went over rather well, but I will still enhance them to be worded better as time goes on and as I revisit it with more of an organized “5 sets of 4 and the 2 big ‘uns” in mind. But then there comes the elephant in the room. The scoundrel who dared to question my authority and make a critique about the test. How dare they and stuff.
Jokes aside, I really like this kind of critique and it’s great that she put it into clear questions that I can firmly address. I like it when people are clear. It’s much better than that obfuscation thing the postmodernists always do when they complain about me without really having a reason other than something where they don’t like labels or they were offended that I dared to mention any category of anything. Page Zaplendam, a fellow writer, brought up 3 important questions which you can see for yourself here:

1. Where are the definitions of the terms?
2. How do you justify reducing things to something like woke?
3. How do you prevent people from rejecting pre-modernism?

I’ll address the first one to then follow through with the rest of the answers, because they all go in a long chain of “why, why, why” and “how, how, how”.
To begin the explanation, we’re going to need to establish what modernism is so that the others can be explained. It’s the word that created the reason we see a difference in aesthetics like this because this was the moment we engaged in what’s called the enlightenment. During the early 17th century and around that time, people started to remove their dependency on kingdoms and instead create nations and industry. Religion was also being questioned because scientific advancements through record keeping allows people to give better assessments on what causes something to happen in the world. The view of the world started to become more natural and so naturalism was common, as well as rationalism and empiricism. People were using logic to make their decisions and data to come to conclusions, rather than faith or scripture from prior.
During this time, the modern age, traditions were tarnished and deemed as unnecessary. Medicine allowed people to praise science instead of pray for a mystical cure. Predictions of weather with meteorology allowed people to reduce famines and starvation. Printing presses allowed books to become more common, machinery allowed more production of goods, and life went from depending on neighbors to depending on communities and global trade. This dramatic change in both lifestyle and mentality allowed art to enter the modernist art era, which is determined as art that experiments to search for new meaning and objectivity without the necessity of a deity, tradition, or the supernatural.
Mythology became psychology, alchemy became academia, and religion became fandom. Everything mentally changed under modernism to create an environment of experimentation, the romances took over, which led to the pulp adventures and existentialist works of things like noir. Weird tales brought us ideas of cosmicism, thanks to the lack of god or at least the lack of a god who cares about humanity. With this freedom from religion, the mostly liberal environment of modernism allowed people to make up their own rules, their own ideas of what’s real, and thus we were able to focus more on the individual, rather than the collective. Stephen Hicks has a great video where he lectures about how modernism came to be and what it is, but I can simplify it into the 5 categories he has on his chart.
Metaphysics: naturalism
Epistemology: empiricism and reason
Human Nature: Tabula Rasa(everything mental is gained from experience)
Ethics: individualism
politics/economics: liberal capitalism
As you can see, modernism caused this reliance on the self, but also reliance on science as a replacement for religion. It caused the worship of money, while also opening people up to other ideas thanks to the liberal mindset. The liberty to engage with other things allowed people to mingle with both good and bad ideas. This is actually why people, like James Lindsay, say that liberals caused things like Nazism and Communism to come into fruition, because the liberal is so open and accepting that they allow terrible ideas to take over the top of the social structure and they think it won’t touch them if they are on the bottom. This is also how dictators were able to trick people into treating them like a God, because the dictator convinced people that they were able to answer prayers and did this during their campaigns to get elected or during the revolution while they’re beheading their opponents in the streets.
In other words, the uprising of democracy had people rely on voting in the same way as people relied on prayers, but here it’s where we pray to a natural government and hope they do something we want.
One thing that we don’t like to realize is that colonization occurred because of a scientific superiority among the Europeans, and this scientific advancement was caused by years of wars and immense dedication to their royalty. Then there were areas they colonized that had a crazy amount of gold, such as Australia and the Aztec empire, and this abundance of gold allowed trade to skyrocket, while Indian trade and the silk road allowed wealth to spread across the globe. Diamonds and gold found in Africa, like a sick joke from God to force white people to go to such a hellhole to get the diamonds in the rough. It’s not that white people wanted to go around and rule the world. It’s that enlightened explorers and merchants wanted to make a crazy amount of money and these environments were inhabited by people who left these literal gold mines untapped, and these explorers used technology to take over.
No wonder modernism was full of that toga wearing utopia sci-fi stuff!
It’s not hard to realize why the Europeans took over entire empires with small groups of conquistadors. They had armor, guns, ships with cannons. Those Chinese must have their face red realizing they are the ones who sold them black powder. Every alchemist should feel bad and stuff that they are the reason guns were used versus the people who didn’t have guns. It was such a destructive force to use guns against savage tribes and kingdoms because it was both physical and psychological. It was like dealing with metallic robots who fired lightning from their arms and filled the area with a concealing smoke. That’s like showing a caveman a cellphone, their brains instantly melt trying to comprehend what’s going on.
So people are angry at the modernists for being… rational and empirical, and I guess being urbanized or industrialized. People are mad at capitalism for being effective and a good way to globally get along. They’re mad at liberals for being okay with race mixing. The utter nerve of such horrid actions. How dare people mix. I’ll make sure to tell my own future mixed kids that they should be ashamed of themselves for having parents who came from different parts of the Earth and that’s about it.
So modernism, do I like it?
Well, it’s not bad. A lot of my favorite stuff is modernist and usually when people say they want to go back to the old days, they point at modernism as the example. Hell, a lot of postmodernists now are saying they want to go back to modernism, and then they say they don’t, because they feel like it's superior, but they hate the idea of accepting that it’s modernist. I mean, that’s why it’s called postmodernism, it’s the thing after modernism is gone, it’s the rejection of modernism and also pre-modernism. But more on that one later.
I noticed a lot of people got mostly modernist as their answers on the test and it makes sense. Many people online, especially on alternative social media, will be actual liberals who are open to different ideas, which allows them to engage with things that both offend them and possibly something they see as evil. They’re open to having their minds changed and they are always willing to learn more because there’s a big idea on learning more and experimenting, which is something I can relate to because I’m always trying out new restaurants in my area and I don’t mind trying a genre that I’m not familiar with. For me, I have a bit of that liberal mindset because I try out a lot of things I’m not familiar with and I end up liking some stuff, but I usually stick to what I established as my firm ideas from prior.
For example, when I was a kid I hated eating beans and I refused to eat fish that wasn’t canned tuna. Now, after being more open, I love salmon and I love eating beans, which dramatically helped my nutritional intake. There is a healthiness involved with experimenting and there is also a risk factor. But if you know how to avoid dangers, I don’t see a problem with trying out something like a new genre you’re not used to, just to see if you can get into it.
I mention this because the modernist writer will experiment, but will also claim a truth that comes from rationalism, which assumes the world we live in is logical. Even if it’s chaotic and absurd, they’ll say it’s logical, because it’s predictable and we can interact with it. This allows their writing to hold to formulas through things like pulp, while also experimenting through things like weird fiction. There is repetition that happens, and this is why genres became a big thing, so the reader can tell what form of repetition they want to deal with through what they are familiar with. This caused what’s called a comfort zone, which is the state of mind where a person feels at ease because there is an abundance of familiarity and a lack of unwanted challenges. Genres create these comfort zones, and this is then where we have to talk about individualism.
Liberalism has the problem of causing individualism to slowly become sophistry and egotism. The person declaring they are the one who is to be relied on and they are the ones who make up their own rules becomes a person who can’t tell who they’re obeying. Especially if that person puts something above themselves, like race, or science, or nation, or the opinions of others through democracy. Thanks to romanticism during this modernist time, we were able to feel like we had an abundance of freedom and capability, but then barely a century later the rise of Naizsm and Communism caused people to realize that this capability is in relation to what the shadow is capable of. The darkest, most disturbing and destructive actions a person is capable of, beyond their imagination and beyond what we’d consider a “human act”.
This quick change into the most dangerous entity nearby is why I don’t trust anarchists when they say their utopia would be functional. When it comes to real life, that doesn’t work, we need a more powerful overarching thing to keep that shadow in check, and we need that entity above the human to be in check of its own shadow on top of that. And this shadow is also what causes the modernist to engage with things like dada and a hatred of art to the point where they can say the work is for them and them alone, or that all art is equal, down to where a turd on a pedestal is the same as the Mona Lisa.
The pro of modernism is a focus on the individual, which promotes movements like poetic realism and neorealism, which grants a look into everyday lives. The mundane can be put into the forefront and average people can feel like they relate, which allows the average person to buy the work. That is a great plus, and it’s why the most popular shows out there are stuff that involves soap opera style drama and an environment that is simple, like a hospital or a police station. The sitcom is a result of modernism, because only a modernist would find value in seeing a family hang around their house while you’re sitting in your house with your family watching someone else in their house with their family.
Now let’s get on with pre-modernism, after all of that introduction is said and done. Pre-modernism is everything that came before this enlightenment and this separation from God. Atheists like to say how atheism has been popular forever and they have simply been suppressed, but something crazy that they ignore is that every civilization, without ever talking to each other, before any contact with anyone else, became a religious, spiritual, civilization. We even have a name for this basic religion, called animism. This natural desire to be religious in humans comes from how we think when we are young, as well as how we think when we are not relying on science or even words.
I know this sounds strange but we think more in pictures and visions than we do with words when we don’t know how to read. Reading unlocks a vast amount of knowledge that can be gained practically instantly, but a lack of language in our ability to think causes an abundance of symbolism in our head to fill in the gaps, meaning the ability to read locks away this visual aspect. When we’re babies, we view everything as giant, threatening, and frightening. And why not? We’re this tiny soft thing that has a skull that can easily be dented and we’re unable to feed ourselves. We need someone to throw food into our mouths like bananas into the mouth of a hippo at a zoo. We have our parents doing stuff for us, and so our brain right away connects the two.
Stuff happening around us is caused by something like a parent, like an authority, like a sky father and earth mother. The father gives me brain stuff and the mother gives me food stuff. But then we’ll grow up and realize that something like the wind moves on its own, the moon comes up to replace the sun on its own, and the seasons change on their own. There’s something we can’t see that’s doing this, something beyond the sky and under the ground, and everywhere we can’t see, especially behind our eyeballs. There’s this strange image that appears behind my vision that is not of the world but of my mind, and I conjured it.
And if I didn’t conjure it, I had someone else put it in my head through a spell, in the form of words, which cast the symbol to occur in my mind. Writers in the pre-modernist age are spellcasters, wizards, that make sure something is explained about the mysterious and supernatural world that is beyond the stuff we see around us. This “rejection of the average” causes the pre-modernist writer to talk about stuff that are not only real, but hyper-real. It doesn’t speak about an individual and it’s not for an individual, because it’s attaching everyone under the same umbrella and form. This is why I find poor interpretations of mythology humorous but also rather useless.
People will look at something like Greek mythology where a god has a child with their sister and go “well, isn’t incest a bad thing?” Not only do they miss the point, but they forget that it's a god we’re talking about and it’s not a human. It’s not some biological thing standing in front of you. It’s the supernatural, it’s beyond something like biology. Or better yet when someone reads the bible and goes “why did Adam take a rib out to get a woman? Couldn’t God just make a woman without taking his rib?”
It’s like, you missed the point and you’re ignoring the importance of symbolism, and this symbolism grants all of the meaning that you’re missing from the bible. Yes, Eve is made from Adam, and yes, it takes a rib, because rib is a bone and bone is structure. A rib is near a heart, a protector of heart. Heart is courage, love, emotions, stuff that makes our blood pump. Blood is a humor based on air, and air is one of the 4 elements. The connection goes on and on and on, because this mythology is all connected together into one giant story that goes beyond the words stated in the story. Each tiny noun or verb means way more than it lets up to mean. I’ve been studying mythology for a while, and really trying to look into them before I say anything about them, and there is so much inner history with mythology that’s both present and reachable, but it’s practically endless with how everything connects.
And at the same time, all of this is essential, of a form, symbolic, and objective.
This relation to religion in pre-modernism causes the definition to be something like “the art form that depicts hyper-reality in an objective truth that involves the supernatural as a source of the natural and as the source of truth.
Stephen Hicks puts the politics of the pre-modernist as feudalism, but it’s more like monarchy, where you believe that there should be a king, because someone has a family line that was sacred enough to treat like one. In pre-modernism, we had ancestor worship in every culture, because your family line was important to keeping your existence relevant. This is because everything in the pre-modern age involved titles, which were granted by an authority, and many times this authority is a god or an ancestor.
Your title within your family is in relation to your family members and your last name determines your family’s title for others to recognize. If someone was a smith, they would get the last name smith, like say John the smith just becomes John Smith, and they will endow their established trade to their next of kin. So if the son of John Smith wants to make a living, he’s going to be a smith as well. There is this lineage and family business that is treated seriously, because if you step out of this title, you’ll have to create your own. People could do that by entering a trade or a guild, by learning from others, from gaining a title after being born a bastard, or whatever they could to get a title.
But the key factor is that title is important to the pre-modernist. What’s even more important is form, because this religious mentality creates the environment that perfection is possible. A metaphysical manifestation separate from the material world that is able to be aimed towards and sought after, even if unable to be reached. This was well portrayed in characters like Jesus, which Christianity dedicated itself to fulfill the traits of Jesus, due to Christianity being a religion where people follow the teachings of Jesus.
I would say that every religion had their own type of Jesus, the perfect form that someone or something has to uphold and look up to as inspiration.
Later on, alchemy came out of the prototype phase and started to connect all of these religions and symbols with each other to create more overarching symbolism that went for more core ideas. At this point, people could only argue against combinations and where something is in a hierarchy, rather than the validity of the claim of something like a single god or a creator. Sects of religions were made in order to determine different end goals, or different ideas in how a ritual should be done, or whether something like a church is important for worship, and these were the biggest sources of dispute possible.
You either followed God's will or you didn’t, and if you didn’t, you were a heathen. Heathens are sent to the bad place, believers go to the good place. We have a supernatural aspect of our body, beyond our body, beside our body, that went there for us, usually in the sense of a soul or spirit. The mind is an intermediary between the body and spirit that allows communication between the two at all times. This was usually depicted with gods like Psyche or Hermes or any other messenger god.
The gods would speak to us with omens and with us using clairvoyance. Any pattern in front of us or up in the stars could be used as a means to decipher a supernatural message. This message was easily able to repeat itself because there was an objective meaning to everything, which is why something like Zodiacs are constantly watched even to this day. Pre-modernist art retains this tradition of using mythology and symbolism to depict truths about the world. Romanticism was an attempt to return to this truth telling style during the modernist era, but Romanticism was absent of the religious aspect and was more of something like a neo-alchemical way of handing stories, where symbols were kept basic and for individual progress instead of a collective one.
A big part of pre-modernism is collectivism, especially the collective unconscious, which Jung coined later on when referring to his more pre-modernist analysis of psychology that heavily relied on alchemy and mythology. We used mythology to say something of value, with a universal or at least human level of objectivity, and the only way to miss the message is to deny that symbolism exists for them. Or at least, your level of symbolism in your interpretation would have to be so low resolution that it misses every point entirely and has zero context as to why mythology is important in the first place.
Mythology grants the idea that our world holds order, while the modernist idea is more about how the world is chaotic and we hold order to shape the world better. Fables grant the idea that particular personalities do particular things, while modernism declares that things change or can be grey and shows how. The black and white morality of the pre-modernist merged into grey once modernism kicked in, because there is the lack of theism under modernism.
We’re half way through the explanation and now we come to postmodernism.
Pre-modernism establishes that the supernatural causes order to cause truth, modernism changed that to say a secular natural world causes chaos to have us find truth. So what does postmodernist do to change all of that?
It rejects both and says both pre-modernism and modernism are wrong, and instead says everything that can be perceived is subjective and the objective is unknown to us. Stephen Hicks says in his video that postmodernists are really intelligent and well read into an abundance of stuff, and he’s impressed by that. I would have to disagree with him because it’s not like they read everything they did in order to understand it. They read everything and continue searching because they intend on claiming it’s not true, and use their personal interpretation to claim such. It’s very much like when a person studies mythology to then say “you know, the gods committing incest and magically transforming is really weird.”
Before I get deep into postmodernism, I would like to explain the concept of realism. Realism, in both philosophy and art, is to depict a thing as how it truthfully is. There is accuracy, there is something there that really exists, and it has attributes that causes it to really exist. Both modernism and pre-modernism have this as an axiom. Postmodernism on the other hand is ANTI-realism.
You cannot believe in something being “real” as a postmodernist because to claim something is real is to claim an objective truth, which a postmodernist is allergic to doing. They are unable to claim anything as true, because there is no proof for them to use, thus any statements they make must be an opinion and any statement they see must be perceived as an opinion as well. In all honesty, I have trouble finding postmodernists who go this far down the rabbit hole. All of them focus on subjectivity, but they’ll still try to tell others that things can be real in a colloquial way that lets them blend in with modernists. It’s hard to get people to follow you when you claim things aren’t real, so there is a form of deception and contradiction that occurs, but it’s also acceptable to the postmodernist.
This is because postmodernists don’t care about logic, and anything they want to claim as “true” is based on a social subjectivism that can also be considered an overton window that shows them what is acceptable to say and what isn’t. A lot of them try to push it, others try to blend in with it, with the intensity depending on how far they want to push their deconstructionism and reductionism. For example, phrases like “we’re all just stardust floating around” is a way for the postmodernist to seem deep with their reductionism, but it’s actually their way of saying they are nihilistic while trying to sound deep and poetic.
Stephen Hicks does have an amazing point in his presentation where he says truth no longer matters to the postmodernist and what does matter is power. That kind of concept comes from Nietzsche’s will to power (which is why Nietzsche is considered a proto-postmodernist, one who helped birth it into existence) and Marx’s historical materialism. The thought that human labor forms the material basis of society, and this idea being spread out into every 3rd world country(aka communist country during the cold war) means that a big chunk of the world is convinced of this concept of power through labor and power through capital that’s seen as “stolen labor” when it’s a bourgeoisie.
This leaning into Marxist terminology, thanks to communists and hippies, causes postmodernist politics to be considered leftist, and exclusively leftist. There is no way for a right wing postmodernist to even occur because the right winger believes in a truth through natural rights and there is no way to remove that aspect. This is why Stephen Hicks calls the postmodernist political and economic idea socialist, which what he really means is leftist. Although, socialist works a bit more for the political aspect since socialism is a wonky word that means whatever the socialist wants it to mean.
They think the worker owns the means of production and that some form of social relevancy should happen and the rest is dependent on what they want to advocate for. Not surprisingly, this socialist aspect quickly turned into syndicalism and later corporatism when relying on the government to enforce this social power upon the masses, also known as a cult of personality. The cult leader, or leaders, tell everyone that they have power, they tell everyone that they’re special, the people don’t question it because they think it’s a common opinion, and so the cult grows unrestrained. We see this at all times when people will both hold water for a politician for any little thing and also attack their opposition for any little thing, no matter how much of a double standard or fallacy they apply to their advocacy.
To the postmodernist, advocacy is labor geared towards power, with advocacy being the only thing you can do to socially stay relevant.
When it comes to postmodernist media, the key idea is exploitation, because the goal is to get as many views as possible and break as many boundaries as possible. Modernist rating systems are pushed and pushed constantly into exploitation to the point where new ratings are made and R rated material becomes the new norm. The grindhouse is a common place and is normalized, even though before these would be considered taboo, because the way the overton window moved more towards the left through their advocacy. The leftist postmodernist demands power as the social structure and so they demand power and are slowly granted it over time. But there is a bit of a weird thing that happens between how Hicks and I see postmodernism.
In his chart, he labels postmodernism as collectivist and egalitarian. I see this as a bit misleading since the leftist is not really for collectivism in the same way as a pre-modernist would claim we’re all connected. The postmodernist believes that we’re all connected in how we’re all trapped in our own subjective constructions, as if we’re all islands in this massive chain of islands and the water between us is the subjective separation.
For example, let’s say I look at a dog and another person looks at a dog. We both see the dog but the dog is one dog for me and another dog for them and there is this supposed infinite number of dogs who make up this single entity that takes up the space where the perceived dog resides. And not just an infinite number of dogs, but infinite number of things between what the dog is made of, with an infinite number of those for each smaller thing. I guess, to him, that’s collectivism, and the egalitarian thing comes from how leftist demand that people are to be treated equal, as well as all art to be treated equal.
Just like dada, which was a proto-postmodernist art movement, the postmodernist thinks that all art is equal, with the Mona Lisa holding the same aesthetic value as a turd on a pedestal. This allows the postmodernist to use juxtaposition to combine something of high regard with something of low regard, like say having classical music play during a moment where someone is being tortured in a grindhouse way. Or maybe another example is like how Tarantino combines low quality exploitation movies with high quality dialogue that people praise for its realism and tension. This is why surrealism became popular under postmodernism, because surrealism juxtaposes a high concept symbol with nonsensical low concept literal images or events.
Another aspect of postmodernism is the idea that art and real life has merged into a type of hyperreality that blurs the line where life and art meet. People record their lives online and turn that into media, thus turning even things like talking about people who are in media into a form of media itself(aka Hollywood gossip stuff and youtube drama).
Without much of a message or objective symbolism, a lot of postmodernist media focuses on playfulness, because messing with things is all that there’s left as a means of entertainment and media making. Personal interpretation as the only means of experiencing causes the postmodernist to aim for open interpretation work, using vague wording and dog whistles to hide intents that they believe a common audience wouldn’t like, but select circles would catch. And with this demand for social power came the rise of corporate media, where corporations crank out stuff with self made trends and control groups who guide the corporation towards more money, thus more power.
There is also a combination of media, usually in the form of merchandising, so that a form of media will still be advertised and thought about, even when not engaged with the media directly. For example, GI Joe started out as a toy for kids. Then it became a comic and a show for kids. Now it’s a movie series for kids. Transformers, He-Man, I think even Gundam. These things aim for sales first and then plan the story after, because it’s all one big marketing campaign. There’s nothing in these that try to say what is true, they simply try to say things that will have people think they agree with it, or at least can’t argue against it to where they disengage with the product that’s being sold.
This has caused postmodernist media to become both highly marketable but also highly forgettable. Things easily get outdated even if the tech level stays consistent because of intertextuality, which is the relationship one media has with another to grant the user of intertextuality with relevancy that can have the audience understand the reference. This is a fancy way of saying something like an inside joke or a typical reference like a meme that we see online. If you ever want to understand this one, just think of any Channel Awesome reviewer. They will try to make jokes that reference something in media, probably something they reviewed prior, in order to keep the dedicated fans in the circle of attention and make the new fans try to keep up with this intensifying requirement of knowing jargon.
Intertextuality can also be seen as a sort of specialized culture within a franchise or company or genre or just stuff that is similar, so that the people who are of the fandom can all enjoy speaking some special language with each other and keep out the people who don’t know about their niche idioms and references.
This combination of reality and media, along with removing objectivity from the equation, with high and low arts being combined through playfulness and for marketing, is why our media is the way it is today. It’s made like fast food, doesn’t offer anything for the brain to work with, and is actually more for our brains to turn off if anything. People like Ray Bradburry saw this issue with TV and determined it was going to turn us into Idiocracy, which he explored in his book Fahrenheit 451. People are indulged and distracted by the idiot tube, they stop questioning things, books start being called evil, the government enacts a war against books, all people have left are things that keep them dumb, and then they can’t even see a war that’s happening all around them and in their own backyard.
The benefit of postmodernism is that it can appear more creative and people get entertained. That’s about it. No more feeling like you need to tell the truth, now you can make a story about whatever. The only benefit quickly becomes the main problem with it: it’s a bad influence. Postmodernists can only deconstruct and so they’re never pleased.
We see this all the time with Channel Awesome reviewers where they will miss the point of everything in a movie, like say Last Action Hero, and even though Last Action Hero is a postmodernist deconstruction of action movies, the reviewer will scream and holler about how the movie can’t be taken seriously. Then when they are challenged on the integrity of their review, they will spin it around and say they were just being meta and knew it was satire all along, that nobody should take any review of theirs seriously or as their actual opinion.
Or better yet, a postmodernist fan will chime in and speak for the reviewer, like when I said Spoony’s review of Final Fantasy 8, yet another deconstruction work that people were conflicted on, was misguided and wrong. A bunch of fans came in and said “Well, that’s not his REAL opinion. He didn’t REALLY say what he wanted to during the months he spent working on that review.”
I guess the point of postmodernism is to NOT say what you mean. Because how can they? That would address there is an objective idea in their head of what they mean, and that can’t happen under postmodernism. So you’re left with this endless chain of people trying to make a satire or make fun of something that is already making fun of something and that thing is already not to be taken seriously, and… you get the picture.
But then, recently, a sort of organized idea sprouted out from postmodernism. This idea that everything is both power and subjective, while also being a social construct, coagulated into a unification of something under what is called intersectionality. In 1989, Kimberly Chrenshaw coined the term, which already was working off of ideas during postmodernism such as second wave feminism and critical race theory. Through the idea that extreme egalitarianism is the way, in a subjective way, these defenders of the marginalized demanded that media should cater to whoever they deem as marginalized.
This branch of postmodernism is known as woke.
For wokeness, there isn’t much of a history or even aesthetic choice to shift through, but there is an awful lot of jargon to explain so that people know what I’m talking about. So for the majority of the woke explanation, I will be explaining the special words used that the woke will both claim are super important to know, but will also refrain from defining because they want to keep it on the down low. They mostly want to do that because they know their reasoning doesn’t make any sense and because it’s self contradictory, but that’s okay for them because they are, by their own admittance, anti-logic and “there is no real wokeness”.
Actually, before I explain the jargon, I want to get into that “there is no such thing as woke” talking point they always do. This is the same thing as saying “I want everyone to do x and there is no x”. Or when they are less radical, they will say something like “Everyone should do x, but nobody has done x yet.” But recently it’s been more like “This thing in the media has always been x, which is why we need it to be more x”.
As you can see, the narrative is always changing and they are always telling people to do something. This is the opposite of postmodernism in how it’s authoritarian, but is part of postmodernism because of the subjective aspect, as well as the neo-dada form of anti-art. The “art” of woke art is meant to express representation, and this representation is supposed to be of a group, and this group is supposed to look a particular way, absent of any stereotypes, negative or positive, and absent of any grand narratives, pre-modernist or modernist.
Therefore, all we’re left with is… appropriation and exploitation of marginalized groups.
Something tells me they didn’t think this through. It’s almost as if their goal is to be the thing they claim to fight against, but they don’t want to be called racist or sexist or whatever phobic because they don’t want to lose social power. This enforcement of an ideology, an ideology that tries to equally exploit for money, is put under the acronym DEI: Diversity, equity, and inclusion. This is a profitable business to get into, because DEI is estimated to have corporations annually spend $17 billion on DEI programs and organizations by the year 2027. In 2003, it was estimated that corporations spent $8 billion. In 2022, that number was recorded at $9 billion.
What do these numbers mean? It means companies are wasting money on this and they’re losing money after enacting woke policies.
When we combine wokeness with the socialist/Marxist mentality of the postmodernist, we end up with a constant drain of capital on the end of the media maker. The one making the art LOSES MONEY when they go woke, which is why we say “go woke, go broke.” There is no intention on making money with wokeness. This is why governments added wokeness to what is called the ESG score, which is a score that governments use to subsidize companies that follow things like climate change advocacy, DEI, and following whatever regulations a country puts in like mask regulations.
Follow these things, get closer to the “leader” score, and you get more money from the government. This is why companies don’t care when they lose customers, because at the end of the day, they are kept afloat by tax dollars. Then the people in charge of these companies buy the lowered stock that was hit by a controversy, and they have it go back up between woke projects. This is why the CEO of a corporation loves woke backlash, as long as they can pretend they had nothing to do with the woke decision. This is why, for example, Budlight decided they had nothing to do with hiring Dylan Mulvaney AFTER the boycotts worked, instead of, you know, while hiring him to be a spokesperson for the beer on April Fools day of all days.
So the go broke part is for the company itself, while the people using wokeness for their benefit are grifting and taking short term gains. Same thing was for something like BLM, which is an organization that revealed the money donated for the purpose of helping black communities was instead used to buy the founders mansions. The idea that wokeness brings in the cash and it can be called “woke capitalism” is absurd due to the lack of longevity the concept has. This is like calling a stolen item that gets sold at a pawn shop “illegal capitalism”. It doesn’t mean much, and it’s just trying to tie capitalism in with something negative, which is hilarious since wokeness is meant for the left.
With that out of the way, I’m going to get into the jargon, which will allow us to see some of the “philosophy” behind woke. The first one is “critical theory” which is what everything under wokeness is based on to enact a policy. This is how they choose who is marginalized and who isn’t. The term critical race theory originated in the 1980s through discussions about laws because some people decided that equality was not enough. It’s not enough that you can treat a person as an equal, like how a liberal does, because somehow a person born in 1980 is influenced by their ancestry from 1480. Judith Butler helped popularize critical queer theory, which lost the critical part once that aspect was seen as bad, thanks to critical race theory.
They kept all of the critical theory roots, but they removed the word critical because they don’t want to appear… critical. This also happened when Lisa Tuttle popularized the current form of feminist theory, where they remove the critical part because of the stigma they know the word has. No matter what, deception and omission must be used to get their agenda through, because that’s all they know how to do. They cannot get power unless they deceive people into giving them their power. And I find that a little odd since critical theory is a Marxist theory that came from the Frankfurt School from a man named Max Horkheimer, way back in 1937.
Max’s idea was that the enlightenment was a mistake, making him anti-modernist, but the postmodernists of this school of thought will still insist that there is something modernist about critical theory. They claim it’s because Marx was objective because Marx thought something objective is whatever is practiced, yet nothing he claims that is practiced was ever true, so it’s sort of a strange way to misdirect people into thinking that his appeal to his own version of rationalism was somehow actual rationalism. In other words, it’s wordplay. But, we can still say something like his attachment to science being a key element of his ideology, with science trying to be used to determine the natural world, is sort of modernist.
And this is the first step into getting confused as to what anything is, which is why people need a clear explanation as to what something like a modernist is. A good way to explain if something is actually modernist is if you can ask a writer if they believe in marxism and objectivity. If they say no, then we can see that Marxism appeals to the postmodernist in a way that is by design, not by accident. This is why Jordan Peterson is forced to call actual Marxists “neo-Marxists” and “cultural marxists”, because of the constant wordplay that is used by the very same Marxists.
Now, I want to harp on Marxism due to the fact that every single critical theory that the woke adopted is a Marxist theory. Critical theory was based on Marxism and critical theory declared that cultural equality was required in order to prevent fascism. It determined that individuals are not the ones behind social problems, but instead these problems were caused by social structures and cultural bias. What are these problems and what are the solutions, you may ask?
Well, critical theory doesn’t have any of that covered. In fact, the goal was to NOT cover any of those and to just say “social problems are at the social level” and that’s it. Congratulations, theory complete. The social thing is about society and society is how individuals interact. So it’s not the individual’s fault, it’s how they act with each other that’s the problem. So the theory is saying we need to change our act in order to solve the problems, and this was followed by the feminists who say we need to help the women get up in life. This was followed by the CRTists who said we need to help certain races get up in life. This was followed by the Queer Theorists who said we need to help the LGBT get up in life. There is the body positivity, the handicapped, the “don’t slut shame me" movement, and the list goes on and on.
Now we’re in a world where all of these things are in our media and forced into our media because somehow critical theory is the new normal, but you’re not allowed to say it’s forced. If you say it’s forced, some people might reject it and then the enforcers lose power, so they will always say “this is how media always was”. This is how we now have people claiming that ancient civilizations were pro-trans and pro-gay, even though they weren’t and I thought the entire point in CHANGING society is because these social problems are ingrained into society?
This is how the woke say one thing and then mean another. They want the power, but claim the power is given to someone else, while they take the power for themselves. Something like gender is told to be super important and something even worth committing suicide over, but then the lady who made up queer theory says that gender is performative, meaning that it doesn’t matter. Feminism is told to be super important because this is how we can help women become equal, and then we’re told by the person who made current feminist theory that “you’re not born a woman, you become one, even if you were born a male.”
This “equality of power” that the critical theorists said they wanted quickly turned into an “equality of babbling”. Nothing under wokeness makes any sense, and neither does the origin of the term woke. It is meant to mean a person is awake, that they were sleepwalking through life and now they are aware that bad things are happening in society. What are these bad things? Well, whatever you can make up and convince others is bad, since it’s all subjective. If someone steals a VCR and they are black, you can say the police who arrested the thief are evil because they are oppressing a desperate black man who “wouldn’t have stolen if society just treated him better.”
Of course, this implies that rapists only rape because they weren’t treated well enough by society, but only of that rapist is a particular skin color. The woke quickly tie the “need to rape” with skin color, and then call others racists. Actually, now that I’m on the race topic, let’s lay out CRT and how they view race from their supposed “law related origins”.
CRT determines that race doesn’t actually exist, that white people created race to then create racism. I’ll say that again to make sure if you caught that. CRT, a belief about how race works, claims that race doesn’t exist. But then it blames a particular race because… it’s not racist. Did I mention that this belief is anti-evidence and anti-reason? Yes, they do not want reason or evidence to be used for laws, because these things are biased. Instead they want storytelling from the marginalized person, who is called black, even though they don’t believe black as a race exists. This storytelling can be something like “I was walking down the street and I saw a police officer and I felt fear. I should not feel fear. That means the police officer is racist because I’m black and they made me fear.”
To make it even worse, they determine that color blindness from laws causes racist laws to form, because discrimination can occur from certain laws like murder rates, drug use, and theft. Something like being on time to work is considered racist, because a clock is a construction by white people to keep black people down. There’s always something designed by the white man to “keep black people down” because they believe white people only have power because they can keep others down. This is why they advocate to pull all of the non-whites up by forcing white people to hire non-white people into roles in movies or something like a job or using affirmative action to force black people into college classes by reducing their requirements.
Apparently, when you go to the military, the goal is not to have a good soldier but to allow more women to get in by reducing the standard for them. The goal of getting black people into college is to reduce the requirements for them so that they can get in, while increasing the requirements for Asians because there are too many Asians in college. But if we look at media, and only the US media, we can see there is a lack of Asians, so Asians are forced into film sets. Yes, there are plenty of Asians in, you know, Asian countries, soaking up all of the film time, but they don’t count.
In fact, they don’t count because white people don’t watch them as much, so now we have to have an enforcement of Asians being translated into English for western audiences to indulge in Asian culture, which is why Netflix transfers money from the west to the east and tries to get a bunch of Korean, Chinese, Japanese, and Thai content out. A lot of this Asian content is also LGBT, because even though these Asian countries don’t care for such content, the west must believe that the east is super open about it. There will be something like a comedy about a pregnant male that comes from Korea, and the west will take that and say it’s empowering because it fights against gender norms.
Meanwhile, the story is just a postmodernist joke about how it would be funny if men felt pregnancy pain. And it’s because there was a postmodernist comedy called Junior which had the joke “wouldn’t it be funny if a big buff Austrian dude was pregnant?”
My point is that wokeness is just appropriation, through and through. If it’s ancient bigotry, they will say it’s woke. If it’s modernist liberalism, they’ll say it’s woke. If it’s postmodernism making fun of wokeness, they’ll say it’s woke. No matter what, they will spin something to call it woke, just so that they can say liberalism is evil and equality is evil. Their goal is to have an equal outcome, which is their excuse to give certain groups more money and fame, all while ignoring merit. The very idea of rejecting merit as a qualifier is the reason woke media is designed to lose money, and is also a way to tie woke to postmodernism.
I think this is enough explanation of the jargon for now. Not sure if I missed anything, but I think enough of a point is made on that part to have anyone understand how wokeness works. The metaphysics is the same as postmodernist, it’s all subjective. The epistemology is through lived experience because of the storytelling that’s deemed as superior to reason. The ethics is social justice, because they demand equity, aka equal outcome. The politics are marxist, meaning their goal is to remove capitalism because capitalism is an evil product of liberalism. And finally the aesthetic is what I would call anti-art.
I guess I might be able to explain the aesthetics, but it’s rather loose. The problem is that art to the woke is just propaganda. The don’t really give a story or plot with woke media, instead they just take something generic and roll with it, assuming they even give it a plot. For example, there is a woke comic from Marvel(since every comic from them is woke now) where a superhero gets stopped by a cop for being native american. This female, possibly lesbian, native american uses her powers to have the cop realize he’s racist by mind controlling him into thinking he’s racist.
Work with me here…
So the cop is at his house later and decides that he can’t live with himself as a racist person, so he shoots himself in the head. The native american woman watches him from afar and goes “my work here is done” and considers herself a hero for the day. Comic book issue over. So the plot of that story was “super hero uses powers to make a random cop kill himself because racism.”
There is nothing in the story we can call true, nothing we can call interesting, nothing can be called entertaining, nothing can be called useful, nothing can be called anything other than utterly pointless. But the point was to say “racism exists. Stay woke.” That’s the message. That’s the reason an artist spent a month working on a comic and that’s why a company invested money into it to sell it to people who decided to pay money for it and read it. I have no idea who paid money to read that, but I can safely say it wasn’t that many people.
The goal is not to have people buy the product, it’s to simply say the product exists and point to it and go “see, a company put money into that group.” This is kind of like an updated version of “everyone gets a trophy” but instead of everyone, it’s the non-whites, non-cis, non-straights, and non-males. And instead of a trophy you get a product people don’t want to buy.
This is why I consider any answer as woke in my test as an indication of a person being woke. You really do need to jump through a bunch of hurdles to get stuck into this kind of mentality and the only question that people got woke was the one where lived experience is the answer. I think a better term might be anecdotal evidence, because like I said, the woke will reject reason and evidence and instead focus on storytelling, with storytelling here meaning you’re saying what you thought happened through your subjective opinion, and this can be anything you want it to be.
Hell, I can say something like “I felt like a unicorn” and that is considered a lived experience, because somehow I know what a unicorn feels like and somehow you now need to believe I did. So maybe anecdotal is the proper term to use, but then the woke will avoid that one since they know it looks like a fallacy and they can’t socially bring themselves to be stigmatized like that when they think it’s not acceptable. So it’s one of those things where I can either have one wording that causes a false positive or the other wording that will cause a false negative. But, then again, if someone is woke already, they would fail other questions anyway, so maybe I can put that one as not really important to worry about.
So there you have it, definitions and grave detail into all 4 types. I’m sure someone will conjure up more questions and I’m sure a postmodernist will say I’m wrong about everything, but at that point, I did my part so it’s not my problem.
Onto the next section that follows the next question: How do you justify reducing things to something like woke?
Reductionism is when you take something that is complex, like a story, and reduce it to particular fundamentals to provide a sufficient explanation. This is something like when a story gets reduced to a genre when you label it with a genre, because the genre is fundamental. This can also be something like calling yourself a Christian when you believe in the teachings of Christ. Sure, you have other qualities about yourself, but this can be an explanation into something that explains very quickly because it broadens the scope. But the question is HOW do I do this with something like woke, or modernism.
Simple: you look at the definition and go “ah, I see, that’s what it’s doing.”
Pre-modernism and modernism are objective, postmodernism and woke are subjective. Already these two groups are split by a single key factor. I can instantly say woke is a terrible storytelling way of thinking because the goal is to treat merit and superior quality as oppressive, so there is no possible way of making a good story that’s woke. It’s, by design, unable to be good. If we take postmodernism, we can say that it instantly rejects telling the truth, so it must make something up with exploitation and it’s going to be like fast food for the brain. It is, by design, unable to stand the test of time.
But then if we take something like modernism, we can see a truth is there, even if it tries to be individual, because then a guide based on personalities can be seen, and a way might be unlocked. This is why a modernist story is considered classic, and we look up to it as inspiration. Pre-modernism is as primitive and societally significant as you can get, to the point where it’s part of history books as a mythology. We base entire cultures around this type of media and we follow through with our daily life by using this type of media as a guide. In fact, pre-modernism is found IN postmodernism by accident when a postmodernist tries to appropriate, which is why we can find something like alchemy and Gnosticism in a postmodernist movie like The Matrix. There are modernist concepts like The Rabbit Hole in The Matrix, despite The Matrix trying to subvert it and reject it.
So like a genre, the direction of your modernist variant is reliant on both intention and focus, rather than if something is there. I can have a cockroach crawl into my cake when I’m baking it, that doesn’t mean cockroach is part of the recipe. So the goal of the test is to see what kind of recipe people are following and we can determine what kind of cook they are in how they view recipes. There is no danger of reductionism because reductionism is used to prevent dangers. In fact, in the most ironic way possible, to claim reductionism is dangerous here is to use dangerous reductionism to make such a claim, because it reduces the entire process to the idea of dangerous.
Now for the last question: How do you prevent people from rejecting pre-modernism?
Page has determined that if you claim form = function = truth, then you have caused pre-modernism to be the same as woke. As I’ve explained, they aren’t the same thing. Yes both are based on religions, with wokeness being based on Gnosticism, which is to self worship and deem yourself as the true god that is imprisoned in your body by the demiurge, but that isn’t the same thing as “telling an actual truth”.
Gnosticism is sophistry mixed with satanism. I always forget the term and can never find it, but it’s the belief that you’re alone and you’re talking to yourself even when you talk to others. This is how people get trapped in an echo chamber, because all the can do is hear themselves talk and tackle their own ideas of what could be wrong, which requires them accepting they could be wrong, and if they don’t accept that possibility, then everything goes in one ear and out the other. They start to follow a script, become an NPC, and all they can do is become violent once the script runs dry.
Can the pre-modernist become the same thing? Absolutely not. The benefit of a pre-modernist is that we don’t believe we rule the world. We understand that the world is in control, the supernatural controls the world, and we are below all of that as measly humans. We are the cameraman, not the director. Better yet, we are the audience watching a live feed with a cameraman controlling what we get to see, and we’re not involved in any of the production. This acceptance of humility allows the pre-modernist to seek truth, which is how a mythology is born in the first place. The only valid criticism is that the subjects become so grand and universal that they are basic and unable to really tackle the more personal and social issues that modernism tackles.
This basic and broadness is what Page considered “unentertaining”. But during a later exchange, during the making of this response, I found something fascinating. Page’s definition of entertaining is contradictory, because she believes it is objective in the fact that entertainment exists, but WHAT WE SEE as entertaining is subjective. So the complaint that something could be unentertaining isn’t valid, because it doesn’t mean anything if it’s subjective. It’s like saying a traditional dish doesn’t taste good and that’s why that traditional dish is bad to limit people to it.
Well, what if every good dish becomes traditional because people see it as tasty? I am not limited to my own personal tradition, I can enjoy another person’s tradition. I can eat sushi as a German who loves bratwurst and sauerkraut. I can eat pad thai and I can eat sweet and sour pork. I can eat baba ghanoush and shepherd’s pie.
Do you know why I can eat these? Because they are all food that is made of nutrients that people ate since the dawn of time. My human body needs stuff that humans eat for nutrients and there is a select number of nutrients that I need per day because it’s the stuff my body uses. Same goes for storytelling and the specific things my brain will use to gain wisdom and intelligence. The pre-modernist believes that there are these end points that we can address and say “this is the form, this is the end point, can’t go past that.”
The modernist claims “this is scientifically why we can’t go past a certain point, but we might get more information later that will allow us to pass that point.”
Then the postmodernist says “that point is a made up line, the limitation is made up, and the idea you’re in a particular position is also made up, so just mess with things and call them different things.”
Then the woke say “That point doesn’t exist but it’s oppressing me.”
As you can see, the pre-modernist is the most coherent because it’s the most accepting of how things are. I think what Page misunderstood is that some people think a form is what humans determine the form to be, and the form is left as that. Wrong. Form is to reach an endpoint and we cannot physically reach this endpoint, meaning the form will only be in our mental state through symbolism when we’re trying to think of such. Thus, symbolism is the key factor, and all you have to do is make the symbol more clear.
What really struck me as odd is that Page also declared the Bible as entertaining, meaning a pre-modernist work is the prime example of entertaining while her rejection of pre-modernism is because it is not entertaining. I cannot make any sense of that contradiction other than maybe Page believing that media being full of lies is entertainment and that’s not allowed under pre-modernism, which doesn’t mean anything to me.
That’s like going “well, your philosophy doesn’t allow contradictions and uses only logic, so it’s not a good philosophy.”
At that point, we simply have to call such a person postmodernist, because only a postmodernist would demand such a thing.
What am I going to do now that the test was tested? Well, I am sure I am going to make 5 sets of 4 questions for sure, with the 2 overarching questions added in the beginning and end. I will also try to use that google forms thing so that it can be a real test. When I get a website up for my company, I will have the test as part of the entrance exam to join the club. Pre-modernists are preferred, modernists are welcomed, postmodernists are tolerated, and woke are excluded. Sorry, we don’t allow such hateful people into the club. We like to work with normal functional people, and the woke do not meet either requirement.
And I know it doesn’t seem like it, but I am working on the test to have writers see what they KNOW about writing. That one is going to be a bit harder to put together, since I was thinking of getting written answers rather than multiple choice. I think the hardest part with that one will be figuring out how to work in creativity, since that one is tricky to sense if it’s intentional or accidental. But, like always, if I need help, I’ll ask.
Till next time.

I been messing around with the idea of getting a zonia tattoo as I think there designs are awesome. I havn't finished the story yet so please no spoilers but has anyone else been toying with the idea? Or gotten a zonia tattoo alright? I may do a warhammer zonia colour themed army first though 😆

1
A man presses his hand against his daughter’s forehead. Hot. Too hot. She needs food, meat to be precise. Her mother works to keep the fire ablaze, the smoke painting the cave roof black with soot. The man’s brother found this cave before he… keep back the tears. No tears. Not here.
This cave is the only refuge for days, unless you wish to brave the snow. His family will not, his daughter won’t make it. But she has to make it. If she fails, he will too. And so he pulls the beast skin taught around him, the woolly barrier all that lies between him and the ice.
Spear in hand, he swears his return to his lover. He promises that their daughter will eat today. One step out of the cave, and the winds already confront him. They laugh at him, taunt him with their wicked cackling. He ignores them. They will not save his daughter, and so they are of no concern to him.
The man tries to hunt, but it’s hard to do when neither prey nor predator are about. They would be crazy to be out in the snow at this time, but the man has no choice. The memories begin to trickle back to him. His brother, laughing. He promised the meat for his niece. He promised his return. Promises broken by the cold.
A call sounds from beyond a hill. The man halts, for he knows that cry. Slowly emerging over the hill, he sees it. He sees the deadly tusks. He sees the powerful trunk and feet. He sees the delicious meat. He will not break his promise.
A roar answers a call. David answers Goliath. The rage against the snow, the grief for his brother, the hope for his daughter. All these things, the man channels into his spear. He releases his grip and the weapon begins its own hunt. He knows his aim is true.
___________
2
A quick swing of his scythe, and the stalk tumbles. Golden grasses spread out as far as the eye can see, the barn just barely visible in the distance. The farmer can hear his farmhands nearby, their own tools harvesting the hard-earned wheat. He will of course keep some for his family, and the farmhands will receive their share, but the rest he will sell. To whom? He does not care.
The wagon carrying the grown gold makes its way past the now empty fields, and playing children wave to the man at the helm, all the while giving the horses a wide berth. The driver does some quick calculations in his head and smiles, the price he paid for the wheat will be more than paid off by the Lord. Another great profit this year, as long as they can prepare in time.
All through the night, and the next day, and the next again, his family works, even the young one joining in. The kids cheer and holler as the final batch begins to bake, and the man’s wife gives him a proud kiss on the cheek. They’ll make their deadline after all.
Another wagon, this time with guards. The man didn’t even bother watching them depart, he knew that they wouldn't let anything happen to the edible treasure. Slowly making their way up the winding street towards the castle ground, the guards make sure to form a path through the commoners.
Arriving at the grand gate, the wagon halts as its merchandise is investigated. None shall dare steal from the Lord. Except maybe the young soldier, sneaking a single loaf while his superior is distracted. He will feast well tonight.
A feast indeed, though not for him. The dozens chefs work as one, everything must be perfect for tonight, not a single undercooked potato, not even a slightly charred fish. The bread is sliced and split and soaked. It is the foundation upon which the feast (and the chefs’ careers) depend.
The Lord smiles in his seat, his children to his left, advisers to the right, honoured guests at the far end. They all stand, awaiting his blessing, stealing glances at the buffet which their Lord so graciously ordered. He smiles and proclaims the beginning, and the wheat finds its purpose.
___________
3
Her majesty will not be disappointed, not with the captain, and not with her crew. They had been sailing for months now, and supplies were beginning to run low. Oh well, the captain thought, suck it up! Her majesty heard tales of this land, and they shall find it for her.
Tempers running high, and shouts ringing out in the night, all screech to a halt, when laughter comes from the crow’s nest. A cry of joy and of celebration. The captain didn’t believe it, she pushed aside her first mate, and raised the spyglass out into the sea. There, on the edge of the horizon, the greeny brown tips of land were visible.
An anchor dropped, and the crew practically tumbled out of their rowboats onto the sand. Landfall at last, her majesty will be so pleased. Most of the crew was ordered to search for edible plants to refill their reserves, while those that remained began boiling salt water. The first mate brought the flag, and they began walking towards a distant hill, the perfect place to claim for their queen.
Along the walk the botanist grew increasingly annoying. How could someone be so obsessed with stupid plants? He insisted on stopping every few minutes so that he could sketch the new findings. The ninth time this happened, the captain drew her cutlass and freed the plant from its stem. The botanist stayed quiet for the rest of the hike.
Finally, the trio crested the hill, and the land splayed out before them. A new land, all for their queen. She will be pleased with them at last. The pole stabbed into the untouched earth, and the flag was raised. The wind was perfect, blowing in from the sea, the flag waved in all its glory, reaching out over the plains.
While watching their feat, the captain felt the pestering botanist tap her shoulder. She reprimanded him, but he seemed distracted from the scolding. He pointed somewhere to the North, and following his finger, the captain saw a few small structures near the trees.
Huts? No it couldn't be. Raising her spyglass again, they came into view. And standing beside them, staring up at her majesty’s flag, where a few figures, confusion abundantly clear on their faces. Oh well. It looks like the captain has some work to do.
___________
4
Tears fall down her eyes and the nurses run around, trying to stabilise her. Even if she wasn't, she didn't care in that moment. How could she, while the newborn in her arms wailed? She looked up to find the boy’s father shedding his own tears. She was glad knowing that he would protect their son, no matter what.
The boy never took off his mother’s favourite pendant, the one she was wearing that fateful day all those years ago. Even when his younger siblings asked about it, or his new mother, he never let them touch it, not in all of these years. He loved them, he really did, but they could never understand. He wasn’t sure if he could either.
The pendant glistened in the sun, and for the first time in two decades, a hand that wasn’t his own held it. He trusted her like none before. He could fall into her eyes forever, and she could sink into his arms for eternity. Why would anyone give this up, for someone they are yet to know?
More crying, salty tears staining the floor. Finally, the cries of a woman came to an end, and they were replaced by those of a baby. The woman began laughing, for joy filled her heart so fully. As the man looked into his daughter's wondrous eyes, he finally understood.
The girl laughed and played with her friends, half of whom were her cousins. The boring adults sat inside, talking about ‘Will’, whoever that was. She didn’t care, because she wanted to show all her friends and cousins the birthday present she got from her father. The pendant gleamed, dangling from her fist as she held it as high as she could. She would treasure it forever and ever. She swore that no one could ever have it but her.
But time cares not for such things. The boy sat on the stairs outside the venue, rain pattering down beside him as the gas lamps pierced through the darkness. His grandmother told him to hold the pendant close to his heart, it’s silver dulled by the years but nonetheless beautiful. He stilled his nerves and turned to walk back inside. It was his third cousin’s wedding after all, the least he can do is be happy for them.
___________
5
The man may be annoying, but he is strategic. He stands at the place he knows has the most foot traffic at this time of day, that charming smile plastered on his face. He proclaimed his wisdom to all those who would listen, and many who would not. Horses were a thing of the past, electricity was the new craze.
Turning gears and rumbling motors, oh how wonderful they sounded to him. He would work until he dropped, for his message had to travel far and wide. Was he harassed? Of course he was! That was business! Stupid people who wanted to stick with the beasts and needed some sense knocked into them, and he was more than happy to take charge.
A failed engine or two, that's the price of progress! What, you think the first house didn’t crumble under its own weight? You think the first lightbulb didn’t burn out in mere moments? Innovation demands the tortoise, my friend, not the hare.
After all the hard work of him and his compatriots, the beeping sounds of car horns filled the cobbled street below. Success sounded from the road to his ears, and money into his pockets. A knock on his door spoiled his fun, but he knew it was for the best. His friends were here with more news from far away, broadcast to their home with that one doohickey, what was it called? A radio?
What next was there that they could do? What could they teach their children to do? Perhaps a portable radio? What could be more convenient than that? Ideas were the lifeblood of society after all, one of his many catchphrases. The world was changing, life was getting easier, and the salesman could not be happier.
___________
6
A dream adrift across a sea of consciousness, not one nor two nor three. A dream shared by many, deep within their hearts. A little girl tucked into bed, singing a song of twinkling stars. An old man looking out his window, and finding the moon staring back. An ambitious teenager wishing to one day visit the sands of Mars.
A dream that began in the distant past, when the ancients gave names to the stars, and wove stories of the planets. A dream that persists to the modern day, as humanity desperately claws at the void, begging for even a single foothold. A dream that will come true in the future.
Humanity knows it will come true, because it simply must. There is no alternative. They look up to the stars and imagine so many wondrous things. They imagine that they are not alone, that there are others out there, waiting for them. These other societies, surely they have been up there far longer than we have.
Surely they have solved all of their feeble problems by now… so why haven’t we? Why do we suffer on the Earth, while they revel in the heavens? Why are our feet on solid ground, while their wings span the stars? It isn’t fair, humanity thinks.
A ship ascends to the edge of space, close enough to reach for the vacuum. Another lands on the moon, but must retreat mere hours later. Years go by. The Earth spins, and the Solar system continues its celestial dance. Rovers landing on other worlds, only to be battered and broken by the elements. Craft flung out into the depths of space, only to be lost to the endless void.
Why is this so hard? Where is everybody? Are they ignoring us? Why are they ignoring us? Why can’t we do this? Why… why… why? It isn’t fair. IT ISN'T FAIR. We deserve this. We need this.
___________
7
Finally, after yet another monotonous day, I collapse onto my couch. Home sweet home at last. The train was late again, so it almost made me miss the bus, something that happens far more often then I would like. Bags abandoned thoughtlessly near the door, arms sprawled out beside me as I listen to the clock slowly ticking away on the wall, taunting me. Hm... maybe I have enough time tonight. A bottle of water and a bowl of chips beside me, the satisfying sound of a mouse and keyboard connecting fills my headphones. I open up a document already filled with tens of thousands of words, and prepare to add more yet. Fingers dancing across the keys, a new story unravelling onto the digital page in front of me.
First, a story of protection and rage. A father doing whatever it takes to save his daughter, and who will fell behemoths to make sure she is safe. Fueled by fury for a lost brother, his spear conquers the ice and snow. A story of humans unafraid to show our wrath, to bare our teeth and wield our strength.
Second, a story of joy and feasting. A farmer harvesting his well-earned yield, of wheat carried far afield to be kneaded by hard working hands all to be delivered to a grand castle, and placed on the table of a noble's feast. A story of humans embracing their gluttony, and thinking themselves so smart in their creations.
Third, a story of searching and tragedy. An explorer sailing the waters of a sturdy vessel, arriving to new lands with new people to meet, (not that she cares) and staking the banner of her majesty's power in the soil. Spreading and conquering, never satisfied. A story of humans feeding their greed, of claiming what they want, and believing it to have been theirs all along.
Fourth, a story of purpose and love. A mother, holding her first born in her arms. When he grows, his siblings follow suit, and he loves them with all his heart. His mother’s pendant in hand, the cycle continues. Parent to child, child to parent, again and again, as the family grows. A story of humans showing their lust as each generation expands faster and faster.
Fifth, a story of trial and innovation. A salesman displaying the latest device to appear on the market, a newfangled machine that gets you from point A to B. What's next? Something to warm your food for you, to cook for you, to drive for you, to work for you? A story of humans giving into sloth, as their intelligence makes it all so much easier.
Sixth, a story of longing and wonder. A civilization looking up to the stars above, and their minds wander. What could be up there? Who could be up there? Why are they up there, but we are not? We want it. It is our birthright. A story of humans succumbing to envy of those they can’t even prove the existence of… not that that will deter them.
Six ideas for a story, and none that I particularly felt happy with. I did a small draft from each, nothing major, but none of them grasped me. I lean back in my chair, contemplating. I need something... more human. Something that people can relate to, perhaps something they can enjoy reading... wait, that's it! I know just what to do.
My seventh idea is not a single written piece, for the story it tells is too broad, and all too common to be contained within this single page. It is a story of humanity, and triumph.
It is a science fiction work, fantastical, and post-apocalyptic. It is romantic, tragic, comedic, erotic, mysterious and meta. It is all of these, and none of them.
It is a story about humanity’s capacity to conquer fear and tame fury, of embracing joy and delighting in sorrow. It is all of these, and none of them.
Delving into worlds not our own, or perhaps those lurking in glistening shadows. Countless lands, countless critters, countless magics. A world of delving into dungeons, and a world of defying the will of dragons. A world painted across the silver screen, and a world engraved in pitch black ink.
You may be thinking, ‘what on Earth am I talking about?’, and oftentimes the answer lies beyond the planet. This story is told in the clouds of Venus, and the dunes of Mars. Racing through the Sun’s corona, fleeing across Pluto’s heart. A story of discovering friends and foes among the stars, and a story of being forever alone.
When we initiate first contact, they will finally see what comes out of cruel space. We show those who are out there why humans avoid war, and we will show them the nature of predators.
A story where humans control the galaxy.
A story where humans are long gone.
A story where humans dance with death.
These stories, you’ve read them before, haven’t you?
What could be more human, then indulging in our sense of supremacy? Creating propaganda so blatant that we revel in that fact. Delusions of grandeur that we clap and cheer for. Stories where we are simply better.
One which you are reading right now.
But you won’t stop, will you?
Don’t deny it.
I am no better.
I’m the one writing this, afterall.
Indulging in my addiction of creating worlds where we are better.
Where you feel powerful.
Where I feel in control.
Thank you for reading, my dearest sinner.
Oh, and don’t forget the most human sin of all.
One which neither you nor I wish to escape.
Pride

I watched this around 2009-2012 I believe but the animation looked sort of old and was hand-drawn, possibly made in the early 2000s late 90s. The movie is colored and I remember the main characters being sentient toys. One scene I heavily remember is that a white horse toy with wheels had to jump from a mountain to another mountain or somewhere else. I’m not sure if they were also carrying other toys on top, but I do remember there being other toys in the movie (perhaps the human-like toy that I’ll reference later). That’s the clearest thing that I can remember, the rest I’m not sure. For example, I think there was a scene of these toys being created, but that might be from a different movie. I also don’t know what their end goal was, but they were definitely trying to reach some place. Also, the horse wasn’t the main character, I believe it was some human-like toy sort of like elf on the shelf. That’s mainly all I remember, if anyone could help me I’d appreciate it. Thank you in advance.

Marvel Comics! Here’s downloading or watching Spider-Man: Across the Spider-Verse streaming the full movie online for free on 123movies & Reddit, including where to watch the anticipated Pixar’s Movie at home. Is Lightyear 2023 available to stream? Is watching Spider-Man: Across the Spider-Verse 2023 on Disney Plus, HBO Max, Netflix, or Amazon Prime? Yes, we have found a faithful streaming option/service.
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Over 25 years ago, a little boy named Andy received a Buzz Lightyear action figure in the 1995 Pixar film Toy Story. Now, all these years later, audiences will finally see the movie that inspired that action figure in the Toy Story spin-off movie, Lightyear, which is soaring into theatres this weekend.
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This is not the Buzz Lightyear you know and love—the one who is best friends with Woody and voiced by Tim Allen. This is the original Buzz Lightyear, a bonafide space ranger voiced by Chris Evans, who is stranded on a hostile planet that is 4.2 million lightyears from Earth, alongside his commander and crew. The Lightyear cast also includes the voices of Keke Palmer, Peter Sohn, James Brolin, Taika Waititi, Dale Soules, Uzo Aduba, and Isiah Whitlock Jr.
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With this new Toy Story adventure coming to theatres, you may feel the urge to revisit the classics. The decider is here to help with that. Read on to find out what Toy Story movies to watch before Lightyear and how to stream the Toy Story.
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Can I Stream Spider-Man: Across the Spider-Verse?
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You can’t stream Lightyear yet — but you’ll be able to soon. As a Disney movie, you can expect Lightyear to drop on their streaming service, Disney Plus, in the coming weeks, but the exact date of when that might happen hasn’t been announced yet.
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Generally, with their cinematic releases, Disney and Pixar tend to follow either a 30-day release window or a 45-day release window. We don’t know which one they’re going with yet for Lightyear, but this means that given the movie’s global release date is June 17, we can expect Lightyear to be on Disney Plus sometime between July 21 and August 3, 2022.
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Where To Watch Spider-Man: Across the Spider-Verse Online
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With a new Lightyear coming out very soon, you may want to rewatch all the movies. Or, if you haven’t given the animated adventure films a shot, now is your chance.
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Just click the link below to watch the full movie in its entirety. Details on how you can watch Spider-Man: Across the Spider-Verse COUGHING for free throughout the year are described below. If you’re a fan of the comics, you won’t want to miss this one! The storyline follows Spider-Man: Across the Spider-Verse Coughing as he tries to find his way home after being stranded on an alien planet. Spider-Man: Across the Spider-Verse COUGHING is definitely a Spider-Man: Across the Spider-Verse Coughing movie you don’t want to miss with stunning visuals and an action-packed plot! Plus, Spider-Man: Across the Spider-Verse Coughing online streaming is available on our website. Spider-Man: Across the Spider-Verse Coughing online free, which includes streaming options such as 123movies, Reddit, or TV shows from HBO Max or Netflix! Spider-Man: Across the Spider-Verse Coughing Release in US Spider-Man: Across the Spider-Verse Coughing hits theaters on September 23, 2023. Tickets to see the film at your local movie theater are available online here. The film is being released in a wide release so you can watch it in person.
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Lightyear can all be streamed using an HBO Max or Hulu subscription. If you’d prefer to rent the movies, only the first two are on Prime Video. Otherwise, all three films can be rented on YouTube, Apple TV+, or Google Play Movies & TV.
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The second film in the franchise, Lightyear, will be released on June 17, 2022. Right now, it’s not confirmed where the movie will be streamed after its big-screen release.
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Is Spider-Man: Across the Spider-Verse on Netflix?
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Lightyear is not available to watch on Netflix. Suppose you’re interested in other movies and shows. In that case, one can access the vast library of titles within Netflix under various subscription costs depending on the plan you choose: per month for the basic plan, monthly for the standard plan, and a month for the premium plan.
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Is Spider-Man: Across the Spider-Verse on Disney Plus?
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No sign of Lightyear on Disney+, which is proof that the House of Mouse doesn’t have its hands on every franchise! Home to the likes of ‘Star Wars, ‘Marvel’, ‘Pixar’, National Geographic’, ESPN, STAR, and so much more, Disney+ is available at the annual membership fee of or the monthly cost of. If you’re a fan of even one of these brands, then signing up to Disney+ is worth it,

Notes:

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Celeste	1.8 TF2 Refer To My Other Thread	$3.56 PP Refer To My Other Thread	Pixel Pride Bundle
Chess Ultra	0.6 TF2	$1.2 PP	-
Children of Morta	0.6 TF2	$1.23 PP	-
Chivalry 2	3.4 TF2	$6.82 PP	-
Chivalry: Medieval Warfare	0.4 TF2	$0.8 PP	-
Chrono Ark	2.8 TF2	$5.56 PP	-
Cities: Skylines Deluxe Edition	7.2 TF2	$14.2 PP	-
Clone Drone in the Danger Zone	4.8 TF2	$9.55 PP	-
Cloudpunk	0.9 TF2	$1.74 PP	-
Code Vein	1.7 TF2	$3.35 PP	-
Coffee Talk	2.5 TF2	$4.93 PP	-
Company of Heroes 2 - The Western Front Armies	0.8 TF2	$1.55 PP	-
Company of Heroes	1.8 TF2	$3.62 PP	-
Company of Heroes: Opposing Fronts	0.8 TF2	$1.49 PP	-
Conan Exiles	2.0 TF2	$3.88 PP	-
Construction Simulator 2015	1.2 TF2	$2.44 PP	-
Contagion	0.4 TF2	$0.89 PP	-
Control Ultimate Edition	1.9 TF2	$3.86 PP	-
Creed: Rise to Glory™	2.2 TF2	$4.37 PP	-
Crusader Kings II: Imperial Collection	9.9 TF2	$19.52 PP	-
Crusader Kings II: Royal Collection	6.5 TF2	$12.82 PP	-
Crusader Kings III	7.2 TF2	$14.2 PP	-
Crysis® 2 Maximum Edition	0.8 TF2	$1.56 PP	-
Cultist Simulator Anthology Edition	1.4 TF2	$2.75 PP	-
Cultist Simulator	1.1 TF2	$2.23 PP	-
Curse of the Dead Gods	0.8 TF2 Refer To My Other Thread	$1.65 PP Refer To My Other Thread	Humble Choice (Jun 2023)
DARK SOULS™ III Deluxe Edition	19.8 TF2	$39.14 PP	-
DEATH STRANDING DIRECTOR'S CUT	3.0 TF2	$5.89 PP	-
DEATHLOOP	2.7 TF2	$5.33 PP	-
DIRT 5	4.2 TF2	$8.36 PP	-
DMC - Devil May Cry	1.0 TF2	$1.9 PP	-
DRAGON BALL FIGHTERZ - Ultimate Edition	15.2 TF2	$30.14 PP	-
DRAGON BALL XENOVERSE 2	1.8 TF2	$3.54 PP	-
DRAGON BALL XENOVERSE	0.6 TF2	$1.16 PP	-
DRAGONBALL XENOVERSE Bundle Edition	0.9 TF2	$1.76 PP	-
DRIFT21	0.6 TF2	$1.11 PP	-
Dark Deity	0.4 TF2	$0.83 PP	-
Dark Souls II: Scholar of the First Sin	7.8 TF2	$15.53 PP	-
Dark Souls III	16.7 TF2	$33.01 PP	-
Darkest Dungeon	0.6 TF2	$1.17 PP	-
Darksiders Genesis	1.3 TF2	$2.66 PP	-
Darksiders II Deathinitive Edition	1.0 TF2	$2.06 PP	-
Darksiders III	0.8 TF2	$1.53 PP	-
Darkwood	0.5 TF2	$1.07 PP	-
Day of the Tentacle Remastered	0.4 TF2	$0.88 PP	-
DayZ	8.2 TF2	$16.2 PP	-
Daymare: 1998	0.4 TF2	$0.78 PP	-
Dead Estate	1.4 TF2	$2.85 PP	-
Dead Island - Definitive Edition	0.8 TF2	$1.61 PP	-
Dead Island Definitive Collection	1.5 TF2	$2.96 PP	-
Dead Island Riptide - Definitive Edition	0.6 TF2	$1.25 PP	-
Dead Rising 2: Off the Record	1.2 TF2	$2.44 PP	-
Dead Rising 3 Apocalypse Edition	1.7 TF2	$3.29 PP	-
Dead Rising 4 Frank’s Big Package	2.5 TF2	$4.96 PP	-
Dead Rising 4	1.0 TF2	$2.04 PP	-
Dead Rising	1.0 TF2	$1.92 PP	-
Dead Rising® 2	1.1 TF2	$2.23 PP	-
Death's Gambit	0.6 TF2	$1.15 PP	-
Deep Rock Galactic	3.3 TF2	$6.58 PP	-
Descenders	0.7 TF2	$1.44 PP	-
Desperados III	0.9 TF2	$1.78 PP	-
Destiny 2: Beyond Light	1.2 TF2	$2.34 PP	-
Destroy All Humans	1.0 TF2	$2.06 PP	-
Deus Ex: Human Revolution - Director's Cut	0.9 TF2	$1.8 PP	-
Deus Ex: Mankind Divided	1.1 TF2	$2.21 PP	-
Devil May Cry HD Collection	1.8 TF2	$3.56 PP	-
Devil May Cry® 4 Special Edition	1.4 TF2	$2.84 PP	-
DiRT Rally 2.0	5.0 TF2	$9.99 PP	-
Dicey Dungeons	1.2 TF2	$2.43 PP	-
Dinosaur Fossil Hunter	0.5 TF2	$0.9 PP	-
Distance	1.0 TF2	$2.07 PP	-
Distant Worlds: Universe	0.6 TF2	$1.27 PP	-
Do Not Feed the Monkeys	0.4 TF2	$0.75 PP	-
Doom Eternal	2.6 TF2	$5.19 PP	-
Door Kickers	1.7 TF2	$3.33 PP	-
Door Kickers: Action Squad	0.4 TF2	$0.74 PP	-
Dorfromantik	2.0 TF2	$4.0 PP	-
Dragon Ball FighterZ	2.2 TF2	$4.34 PP	-
Dragons Dogma - Dark Arisen	1.0 TF2	$2.07 PP	-
Drake Hollow	0.4 TF2	$0.89 PP	-
Drone Swarm	0.4 TF2	$0.8 PP	-
Dungeon Defenders	1.1 TF2	$2.24 PP	-
Dungeon Defenders: Awakened	2.6 TF2	$5.21 PP	-
Dungreed	0.9 TF2	$1.78 PP	-
Dusk	2.0 TF2	$4.0 PP	-
EARTH DEFENSE FORCE 4.1 The Shadow of New Despair	3.1 TF2	$6.22 PP	-
ELEX	1.1 TF2	$2.13 PP	-
EVERSPACE™	1.8 TF2	$3.57 PP	-
Elite: Dangerous	1.4 TF2	$2.75 PP	-
Empire of Sin	1.3 TF2	$2.6 PP	-
Endzone - A World Apart	0.4 TF2	$0.78 PP	-
Euro Truck Simulator 2	1.7 TF2	$3.37 PP	-
Europa Universalis IV	2.5 TF2	$5.03 PP	-
Exanima	2.6 TF2	$5.17 PP	-
FTL: Faster Than Light	1.0 TF2	$1.95 PP	-
Fable Anniversary	4.8 TF2	$9.48 PP	-
Fallout 76	2.2 TF2	$4.32 PP	-
Fantasy General II	0.6 TF2	$1.23 PP	-
Farming Simulator 17	0.6 TF2	$1.11 PP	-
Fight'N Rage	0.7 TF2	$1.34 PP	-
Fights in Tight Spaces	6.0 TF2	$11.88 PP	-
Firefighting Simulator - The Squad	4.8 TF2	$9.43 PP	-
First Class Trouble	0.5 TF2	$1.07 PP	-
For The King	0.9 TF2	$1.84 PP	-
Forager	1.1 TF2	$2.25 PP	-
Forts	3.0 TF2	$5.86 PP	-
Friday the 13th: The Game	2.9 TF2	$5.81 PP	-
Frostpunk	1.0 TF2	$2.03 PP	-
Full Metal Furies	0.6 TF2	$1.12 PP	-
Furi	1.3 TF2	$2.54 PP	-
GRIME	0.5 TF2 Refer To My Other Thread	$0.97 PP Refer To My Other Thread	Humble Choice (Jun 2023)
GRIS	0.5 TF2	$0.91 PP	-
GUILTY GEAR XX ACCENT CORE PLUS R	0.4 TF2	$0.82 PP	-
Gang Beasts	3.0 TF2	$5.94 PP	-
Garden Paws	1.0 TF2	$2.0 PP	-
Gas Station Simulator	3.1 TF2	$6.15 PP	-
Gears 5	10.9 TF2	$21.52 PP	-
Gears Tactics	4.8 TF2	$9.55 PP	-
Generation Zero®	0.8 TF2	$1.55 PP	-
Ghostwire Tokyo	2.5 TF2 Refer To My Other Thread	$4.89 PP Refer To My Other Thread	Humble Choice (Jun 2023)
Goat Simulator	0.4 TF2	$0.89 PP	-
Godlike Burger	1.0 TF2	$1.9 PP	-
Golf With Your Friends	1.1 TF2	$2.23 PP	-
Gordian Quest	1.8 TF2	$3.54 PP	-
Gotham Knights	5.5 TF2	$10.84 PP	-
GreedFall	0.8 TF2	$1.52 PP	-
Gremlins, Inc.	1.4 TF2	$2.74 PP	-
Grim Dawn	4.8 TF2	$9.54 PP	-
Grim Fandango Remastered	0.6 TF2	$1.1 PP	-
Guacamelee! 2	0.6 TF2	$1.18 PP	-
HITMAN™2 Gold Edition	3.0 TF2	$5.88 PP	-
HIVESWAP: Act 2	1.6 TF2	$3.23 PP	-
HROT	4.2 TF2	$8.22 PP	-
Hard Bullet	1.2 TF2	$2.35 PP	-
Hearts of Iron IV: Battle for the Bosporus	1.8 TF2	$3.57 PP	-
Hearts of Iron IV: Cadet Edition	5.9 TF2	$11.67 PP	-
Hearts of Iron IV: Death or Dishonor	1.0 TF2	$1.94 PP	-
Hearts of Iron IV: Waking the Tiger	2.0 TF2	$3.88 PP	-
Heave Ho	0.6 TF2	$1.09 PP	-
Heavy Rain	1.1 TF2	$2.25 PP	-
Hell Let Loose	6.3 TF2	$12.38 PP	-
Hellblade: Senua's Sacrifice	1.4 TF2	$2.86 PP	-
Hello, Neighbor!	0.5 TF2	$1.01 PP	-
Hellpoint	0.4 TF2	$0.73 PP	-
Heroes of Hammerwatch	0.8 TF2	$1.56 PP	-
Hitman Absolution	0.4 TF2	$0.77 PP	-
Hitman Game of the Year Edition	1.3 TF2	$2.58 PP	-
Hollow Knight	2.5 TF2 Refer To My Other Thread	$4.93 PP Refer To My Other Thread	Must-Play Metroidvanias Bundle
Homefront: The Revolution	0.8 TF2	$1.65 PP	-
Homeworld: Deserts of Kharak	0.4 TF2	$0.76 PP	-
Hotline Miami 2: Wrong Number Digital Special Edition	0.6 TF2	$1.22 PP	-
Hotline Miami 2: Wrong Number	0.6 TF2	$1.14 PP	-
Hotline Miami	0.9 TF2	$1.81 PP	-
House Flipper	3.1 TF2	$6.08 PP	-
Human: Fall Flat	1.2 TF2	$2.29 PP	-
HuniePop	0.4 TF2	$0.85 PP	-
Huntdown	1.7 TF2	$3.3 PP	-
Hurtworld	2.2 TF2	$4.4 PP	-
Hyper Light Drifter	1.6 TF2	$3.09 PP	-
Hypnospace Outlaw	0.8 TF2	$1.53 PP	-
I Am Fish	0.4 TF2	$0.72 PP	-
I Expect You To Die	1.3 TF2	$2.67 PP	-
I-NFECTED	4.1 TF2	$8.02 PP	-
INSIDE	1.6 TF2	$3.14 PP	-
INSURGENCY	2.3 TF2	$4.46 PP	-
Icewind Dale: Enhanced Edition	0.4 TF2	$0.73 PP	-
Imperator: Rome Deluxe Edition	1.6 TF2	$3.16 PP	-
Imperator: Rome	1.2 TF2	$2.28 PP	-
In Sound Mind	0.5 TF2	$0.91 PP	-
Injustice 2 Legendary Edition	1.1 TF2	$2.21 PP	-
Injustice 2	0.9 TF2	$1.74 PP	-
Injustice: Gods Among Us - Ultimate Edition	0.7 TF2	$1.29 PP	-
Into the Breach	1.5 TF2	$2.91 PP	-
Into the Radius VR	3.3 TF2	$6.6 PP	-
Ion Fury	1.9 TF2	$3.74 PP	-
Iron Harvest	0.9 TF2	$1.83 PP	-
Jalopy	0.9 TF2	$1.81 PP	-
Job Simulator	6.2 TF2	$12.21 PP	-
Jurassic World Evolution 2	2.2 TF2	$4.4 PP	-
Jurassic World Evolution	0.7 TF2	$1.43 PP	-
Just Cause 2	0.4 TF2	$0.87 PP	-
Just Cause 3 XXL Edition	1.2 TF2	$2.34 PP	-
Just Cause 4: Complete Edition	1.9 TF2	$3.82 PP	-
KartKraft	4.2 TF2	$8.39 PP	-
Katamari Damacy REROLL	1.1 TF2	$2.08 PP	-
Katana ZERO	1.5 TF2	$2.88 PP	-
Keep Talking and Nobody Explodes	2.7 TF2	$5.42 PP	-
Kerbal Space Program	1.3 TF2	$2.58 PP	-
Killer Instinct	8.7 TF2	$17.3 PP	-
Killing Floor 2	0.7 TF2	$1.38 PP	-
Killing Floor	0.9 TF2	$1.69 PP	-
Kingdom Come: Deliverance	1.6 TF2	$3.09 PP	-
Kingdom: Two Crowns	1.1 TF2	$2.09 PP	-
Kitaria Fables	0.4 TF2	$0.75 PP	-
LEGO Batman 3: Beyond Gotham Premium Edition	0.5 TF2	$0.9 PP	-
LEGO Batman Trilogy	1.4 TF2	$2.74 PP	-
LEGO Harry Potter: Years 5-7	0.6 TF2	$1.2 PP	-
LEGO Star Wars III: The Clone Wars	0.6 TF2	$1.16 PP	-
LEGO Star Wars: The Complete Saga	0.6 TF2	$1.16 PP	-
LEGO® City Undercover	1.0 TF2	$1.93 PP	-
LEGO® DC Super-Villains Deluxe Edition	1.9 TF2	$3.77 PP	-
LEGO® DC Super-Villains	0.5 TF2	$0.95 PP	-
LEGO® Jurassic World™	0.4 TF2	$0.88 PP	-
LEGO® MARVEL's Avengers	0.4 TF2	$0.78 PP	-
LEGO® Marvel Super Heroes 2 Deluxe Edition	1.1 TF2	$2.15 PP	-
LEGO® Marvel Super Heroes 2	0.7 TF2	$1.32 PP	-
LEGO® Star Wars™: The Force Awakens - Deluxe Edition	1.1 TF2	$2.23 PP	-
LEGO® Star Wars™: The Force Awakens	0.5 TF2	$0.98 PP	-
LEGO® Worlds	1.0 TF2	$1.96 PP	-
LIMBO	0.4 TF2	$0.71 PP	-
Labyrinth City: Pierre the Maze Detective	0.7 TF2	$1.45 PP	-
Labyrinthine	1.8 TF2	$3.54 PP	-
Lake	0.6 TF2	$1.11 PP	-
Last Oasis	0.8 TF2	$1.67 PP	-
Layers of Fear 2	6.2 TF2	$12.22 PP	-
Layers of Fear	0.6 TF2	$1.11 PP	-
Legion TD 2	2.3 TF2	$4.56 PP	-
Len's Island	4.1 TF2	$8.16 PP	-
Lethal League Blaze	2.4 TF2	$4.78 PP	-
Lethal League	1.5 TF2	$2.97 PP	-
Library Of Ruina	3.2 TF2	$6.36 PP	-
Life is Feudal: Your Own	0.7 TF2	$1.32 PP	-
Life is Strange 2 Complete Season	0.7 TF2	$1.43 PP	-
Little Misfortune	2.2 TF2	$4.42 PP	-
Little Nightmares Complete Edition	1.6 TF2	$3.09 PP	-
Little Nightmares	0.9 TF2	$1.79 PP	-
Lobotomy Corporation Monster Management Simulation	5.0 TF2	$9.88 PP	-
Loot River	2.9 TF2	$5.76 PP	-
Lords of the Fallen Game of the Year Edition	0.8 TF2	$1.61 PP	-
Lost Ember	1.4 TF2	$2.73 PP	-
Luck be a Landlord	1.0 TF2	$1.91 PP	-
METAL GEAR SOLID V: THE PHANTOM PAIN	1.2 TF2	$2.41 PP	-
METAL GEAR SOLID V: The Definitive Experience	2.0 TF2	$3.99 PP	-
MONSTER HUNTER RISE	4.2 TF2	$8.41 PP	-
MORTAL KOMBAT 11	1.6 TF2	$3.07 PP	-
MX vs ATV Reflex	0.6 TF2	$1.11 PP	-
Mad Max	1.1 TF2	$2.22 PP	-
Mafia II: Definitive Edition	3.0 TF2	$5.99 PP	-
Mafia III: Definitive Edition	2.1 TF2	$4.23 PP	-
Mafia: Definitive Edition	2.2 TF2	$4.3 PP	-
Magicka 2 - Deluxe Edition	1.0 TF2	$1.9 PP	-
Magicka 2	0.6 TF2	$1.16 PP	-
Magicka	0.4 TF2	$0.71 PP	-
Maneater	0.8 TF2	$1.6 PP	-
Mars Horizon	0.8 TF2	$1.52 PP	-
Marvel vs. Capcom: Infinite - Deluxe Edition	2.8 TF2	$5.56 PP	-
Mass Effect™ Legendary Edition	6.2 TF2	$12.21 PP	-
Max Payne 2: The Fall of Max Payne	0.7 TF2	$1.48 PP	-
Max Payne	1.0 TF2	$2.02 PP	-
MechWarrior 5: Mercenaries	2.5 TF2	$4.97 PP	-
Mega Man Legacy Collection 2	0.6 TF2	$1.25 PP	-
Mega Man Legacy Collection	0.4 TF2	$0.79 PP	-
Men of War: Assault Squad 2 - Deluxe Edition	0.8 TF2	$1.67 PP	-
Men of War: Assault Squad 2 War Chest Edition	0.8 TF2	$1.64 PP	-
Men of War: Assault Squad 2	0.8 TF2	$1.64 PP	-
Messenger	0.9 TF2	$1.72 PP	-
Metro 2033 Redux	0.7 TF2	$1.48 PP	-
Metro Exodus	1.7 TF2	$3.46 PP	-
Metro Redux Bundle	0.9 TF2	$1.78 PP	-
Metro: Last Light Redux	1.1 TF2	$2.14 PP	-
Middle-earth: Shadow of Mordor Game of the Year Edition	1.0 TF2	$2.02 PP	-
Middle-earth™: Shadow of War™	0.7 TF2	$1.48 PP	-
Middleearth Shadow of War Definitive Edition	1.2 TF2	$2.34 PP	-
Mirror's Edge	3.8 TF2	$7.56 PP	-
Miscreated	1.5 TF2	$2.91 PP	-
Monster Hunter: World	3.4 TF2	$6.8 PP	-
Monster Sanctuary	0.6 TF2	$1.25 PP	-
Monster Train	0.5 TF2	$0.98 PP	-
Moonlighter	0.4 TF2	$0.81 PP	-
Moons of Madness	1.7 TF2	$3.43 PP	-
Mordhau	1.8 TF2	$3.56 PP	-
Mortal Kombat X	0.7 TF2	$1.32 PP	-
Mortal Shell	1.4 TF2	$2.72 PP	-
Motorcycle Mechanic Simulator 2021	1.1 TF2	$2.23 PP	-
Motorsport Manager	1.4 TF2	$2.73 PP	-
Move or Die	0.7 TF2	$1.44 PP	-
Moving Out	1.0 TF2	$1.9 PP	-
Mutant Year Zero: Road to Eden - Deluxe Edition	1.7 TF2	$3.28 PP	-
Mutant Year Zero: Road to Eden	1.8 TF2	$3.53 PP	-
My Friend Pedro	0.9 TF2	$1.76 PP	-
My Time At Portia	1.1 TF2	$2.11 PP	-
NARUTO SHIPPUDEN: Ultimate Ninja STORM 4 Road to Boruto	3.5 TF2	$6.89 PP	-
NASCAR Heat 5 - Ultimate Edition	0.6 TF2	$1.16 PP	-
Naruto Shippuden: Ultimate Ninja Storm 4	2.0 TF2	$3.9 PP	-
Naruto to Boruto Shinobi Striker - Deluxe Edition	1.6 TF2	$3.1 PP	-
Naruto to Boruto Shinobi Striker	0.4 TF2	$0.82 PP	-
Necromunda: Hired Gun	1.0 TF2	$1.97 PP	-
Neon Abyss	0.5 TF2	$0.94 PP	-
Neverwinter Nights: Complete Adventures	3.7 TF2	$7.26 PP	-
Nine Parchments	2.1 TF2	$4.22 PP	-
No Straight Roads: Encore Edition	1.3 TF2	$2.63 PP	-
No Time to Relax	3.7 TF2	$7.29 PP	-
Northgard	1.2 TF2	$2.38 PP	-
Not For Broadcast	0.6 TF2	$1.28 PP	-
ONE PIECE BURNING BLOOD	0.7 TF2	$1.44 PP	-
ONE PIECE PIRATE WARRIORS 3 Gold Edition	1.1 TF2	$2.12 PP	-
One Step From Eden	1.0 TF2	$1.98 PP	-
Opus Magnum	1.1 TF2	$2.09 PP	-
Orcs Must Die! 3	1.9 TF2	$3.81 PP	-
Outlast 2	0.8 TF2	$1.61 PP	-
Outward	1.5 TF2	$2.91 PP	-
Overcooked	0.8 TF2	$1.58 PP	-
Overcooked! 2	1.5 TF2	$2.91 PP	-
Overgrowth	0.8 TF2	$1.54 PP	-
PC Building Simulator	0.7 TF2	$1.41 PP	-
Paint the Town Red	3.6 TF2	$7.1 PP	-
Parkitect	6.5 TF2	$12.85 PP	-
Pathfinder: Kingmaker - Enhanced Plus Edition	0.6 TF2	$1.24 PP	-
Pathfinder: Wrath of the Righteous	1.4 TF2	$2.79 PP	-
Pathologic 2	0.5 TF2	$1.03 PP	-
Pathologic Classic HD	0.6 TF2	$1.13 PP	-
Per Aspera	0.7 TF2	$1.37 PP	-
Pikuniku	0.7 TF2	$1.48 PP	-
Pillars of Eternity Definitive Edition	1.4 TF2	$2.87 PP	-
Pillars of Eternity II: Deadfire	1.0 TF2	$2.02 PP	-
Pistol Whip	6.2 TF2	$12.21 PP	-
Plague Inc: Evolved	1.6 TF2	$3.2 PP	-
Planescape: Torment: Enhanced Edition	0.4 TF2	$0.76 PP	-
Planet Coaster	1.8 TF2	$3.63 PP	-
Planet Zoo	2.1 TF2	$4.17 PP	-
Planetary Annihilation: TITANS	7.1 TF2	$14.13 PP	-
Power Rangers: Battle for the Grid	2.7 TF2	$5.42 PP	-
PowerBeatsVR	1.0 TF2	$1.97 PP	-
PowerSlave Exhumed	1.4 TF2	$2.74 PP	-
Praey for the Gods	0.5 TF2	$0.9 PP	-
Prehistoric Kingdom	1.3 TF2	$2.51 PP	-
Prison Architect	0.4 TF2	$0.88 PP	-
Pro Cycling Manager 2019	1.3 TF2	$2.58 PP	-
Project Hospital	2.4 TF2	$4.72 PP	-
Project Wingman	1.6 TF2	$3.25 PP	-
Project Winter	1.5 TF2	$2.88 PP	-
Propnight	0.7 TF2	$1.37 PP	-
Pumpkin Jack	0.4 TF2	$0.83 PP	-
Quantum Break	2.6 TF2	$5.14 PP	-
RESIDENT EVIL 3	2.4 TF2	$4.76 PP	-
RUGBY 20	1.3 TF2	$2.55 PP	-
RUINER	0.5 TF2	$1.04 PP	-
RWBY: Grimm Eclipse	3.7 TF2	$7.42 PP	-
Ragnaröck	3.5 TF2	$6.84 PP	-
Railway Empire	0.4 TF2	$0.8 PP	-
Rain World	0.9 TF2 Refer To My Other Thread	$1.69 PP Refer To My Other Thread	Must-Play Metroidvanias Bundle
Raw Data	1.1 TF2	$2.14 PP	-
Re:Legend	1.0 TF2	$1.94 PP	-
Red Matter	4.5 TF2	$8.86 PP	-
Remnant: From the Ashes - Complete Edition	2.2 TF2 Refer To My Other Thread	$4.43 PP Refer To My Other Thread	Humble Choice (Jun 2023)
Resident Evil / biohazard HD REMASTER	1.1 TF2	$2.09 PP	-
Resident Evil 0 / biohazard 0 HD Remaster	1.2 TF2	$2.31 PP	-
Resident Evil 5 GOLD Edition	1.5 TF2	$3.0 PP	-
Resident Evil 5	1.0 TF2	$1.95 PP	-
Resident Evil 6	1.4 TF2	$2.78 PP	-
Resident Evil: Revelations 2 Deluxe Edition	2.4 TF2	$4.84 PP	-
Resident Evil: Revelations	1.0 TF2	$1.93 PP	-
Retro Machina	0.5 TF2	$1.01 PP	-
Risen 3 - Complete Edition	1.0 TF2	$2.02 PP	-
Risen	0.6 TF2	$1.25 PP	-
Rising Storm 2: Vietnam	0.7 TF2	$1.33 PP	-
River City Girls	1.4 TF2	$2.83 PP	-
Roboquest	0.5 TF2	$1.05 PP	-
Rollercoaster Tycoon 2: Triple Thrill Pack	1.6 TF2	$3.16 PP	-
Rubber Bandits	0.8 TF2	$1.5 PP	-
Ryse: Son of Rome	1.7 TF2	$3.32 PP	-
SCP: Pandemic	2.4 TF2	$4.85 PP	-
SCUM	3.5 TF2	$6.86 PP	-
SOMA	3.3 TF2	$6.51 PP	-
SONG OF HORROR Complete Edition	1.0 TF2	$1.92 PP	-
STAR WARS® THE FORCE UNLEASHED II	0.9 TF2	$1.69 PP	-
STAR WARS®: Knights of the Old Republic™ II - The Sith Lords™	0.4 TF2	$0.76 PP	-
STAR WARS™: Squadrons	1.6 TF2	$3.14 PP	-
SUPERHOT VR	2.3 TF2	$4.46 PP	-
SUPERHOT	0.8 TF2	$1.57 PP	-
SUPERHOT: MIND CONTROL DELETE	0.5 TF2	$0.98 PP	-
Saint's Row The Third Remastered	2.4 TF2	$4.81 PP	-
Saints Row 2	0.8 TF2	$1.5 PP	-
Saints Row IV Game of the Century Edition	1.3 TF2	$2.6 PP	-
Saints Row IV	1.1 TF2	$2.23 PP	-
Saints Row the Third - The Full Package	1.0 TF2	$1.91 PP	-
Saints Row: The Third	0.7 TF2	$1.46 PP	-
Salt and Sanctuary	1.1 TF2	$2.14 PP	-
Sanctum 2	0.5 TF2	$1.05 PP	-
Satisfactory	6.8 TF2	$13.49 PP	-
Scarlet Nexus	2.9 TF2	$5.75 PP	-
Scribblenauts Unlimited	0.4 TF2	$0.76 PP	-
Secret Neighbor	0.9 TF2	$1.74 PP	-
Serious Sam 2	0.8 TF2	$1.57 PP	-
Serious Sam 3: BFE	1.0 TF2	$1.95 PP	-
Serious Sam 4	4.7 TF2	$9.3 PP	-
Serious Sam: Siberian Mayhem	2.3 TF2	$4.47 PP	-
Severed Steel	1.7 TF2	$3.46 PP	-
Shadow Man Remastered	1.1 TF2	$2.11 PP	-
Shadow Tactics: Blades of the Shogun	0.4 TF2	$0.85 PP	-
Shadow Warrior 2	0.9 TF2	$1.74 PP	-
Shadow of the Tomb Raider	3.1 TF2	$6.15 PP	-
Shenmue 3	1.3 TF2	$2.55 PP	-
Shenmue I & II	1.3 TF2	$2.55 PP	-
Shining Resonance Refrain	0.4 TF2	$0.81 PP	-
Sid Meier's Civilization V	0.6 TF2	$1.25 PP	-
Sid Meier's Civilization VI : Platinum Edition	3.1 TF2	$6.22 PP	-
Sid Meier's Civilization VI	0.7 TF2	$1.43 PP	-
Sid Meier's Civilization® V: The Complete Edition	1.9 TF2	$3.71 PP	-
Sid Meiers Civilization IV: The Complete Edition	0.8 TF2	$1.5 PP	-
Siege of Centauri	0.6 TF2	$1.15 PP	-
SimCasino	1.3 TF2	$2.54 PP	-
SimplePlanes	2.0 TF2	$3.89 PP	-
Skullgirls 2nd Encore	1.8 TF2	$3.62 PP	-
Slap City	1.1 TF2	$2.23 PP	-
Slay the Spire	3.1 TF2	$6.22 PP	-
Sleeping Dogs: Definitive Edition	0.9 TF2	$1.81 PP	-
Slime Rancher	1.9 TF2	$3.8 PP	-
Sniper Elite 3	0.9 TF2	$1.87 PP	-
Sniper Elite 4	1.4 TF2	$2.69 PP	-
Sniper Elite V2 Remastered	1.4 TF2	$2.86 PP	-
Sniper Elite V2	1.0 TF2	$2.0 PP	-
Sniper Ghost Warrior 3	0.8 TF2	$1.58 PP	-
Sniper Ghost Warrior Contracts	0.9 TF2	$1.85 PP	-
Sonic Adventure DX	0.7 TF2	$1.39 PP	-
Sonic Adventure™ 2	1.5 TF2	$2.91 PP	-
Sonic Mania	1.5 TF2	$3.06 PP	-
Soul Calibur VI	1.6 TF2	$3.2 PP	-
Source of Madness	0.6 TF2	$1.12 PP	-
Space Engineers	2.6 TF2	$5.24 PP	-
Space Haven	0.6 TF2	$1.13 PP	-
Spec Ops: The Line	0.9 TF2	$1.79 PP	-
SpeedRunners	0.5 TF2	$1.02 PP	-
Spelunky	1.1 TF2	$2.22 PP	-
Spirit Of The Island	1.5 TF2	$2.88 PP	-
SpongeBob SquarePants: Battle for Bikini Bottom - Rehydrated	1.1 TF2	$2.13 PP	-
Spyro™ Reignited Trilogy	4.8 TF2	$9.55 PP	-
Star Renegades	2.9 TF2	$5.82 PP	-
Star Trek: Bridge Crew	4.3 TF2	$8.55 PP	-
Star Wars: Battlefront 2 (Classic, 2005)	0.4 TF2	$0.84 PP	-
Star Wars: Knights of the Old Republic	0.4 TF2	$0.76 PP	-
Star Wars® Empire at War™: Gold Pack	1.1 TF2	$2.15 PP	-
Star Wars®: Jedi Knight®: Jedi Academy™	0.4 TF2	$0.73 PP	-
Starbound	1.4 TF2	$2.83 PP	-
State of Decay 2: Juggernaut Edition	3.1 TF2	$6.21 PP	-
Staxel	0.6 TF2	$1.11 PP	-
SteamWorld Quest: Hand of Gilgamech	0.5 TF2	$1.06 PP	-
Steel Division: Normandy 44	2.2 TF2	$4.36 PP	-
Stellaris Galaxy Edition	4.9 TF2	$9.61 PP	-
Stellaris	4.1 TF2	$8.07 PP	-
Stellaris: Lithoids Species Pack	1.0 TF2	$1.95 PP	-
Stick Fight: The Game	0.6 TF2	$1.27 PP	-
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Strategic Command WWII: World at War	2.1 TF2	$4.21 PP	-
Street Fighter 30th Anniversary Collection	2.4 TF2	$4.77 PP	-
Stronghold 2: Steam Edition	1.9 TF2	$3.73 PP	-
Stronghold Crusader 2	1.0 TF2	$1.89 PP	-
Stronghold Crusader HD	0.6 TF2	$1.16 PP	-
Stronghold Legends: Steam Edition	0.9 TF2	$1.74 PP	-
Styx: Shards Of Darkness	0.9 TF2	$1.74 PP	-
Subnautica	3.5 TF2	$7.0 PP	-
Summer in Mara	0.5 TF2	$1.04 PP	-
Sunless Sea	0.9 TF2	$1.85 PP	-
Sunless Skies	1.1 TF2	$2.18 PP	-
Sunset Overdrive	1.8 TF2	$3.56 PP	-
Super Meat Boy	0.5 TF2	$1.07 PP	-
Superliminal	2.0 TF2	$3.88 PP	-
Supraland Six Inches Under	1.1 TF2	$2.23 PP	-
Supreme Commander 2	0.8 TF2	$1.58 PP	-
Surgeon Simulator: Experience Reality	1.7 TF2	$3.44 PP	-
Survive the Nights	0.8 TF2	$1.63 PP	-
Surviving the Aftermath	0.7 TF2	$1.4 PP	-
Sword Art Online Fatal Bullet - Complete Edition	3.2 TF2	$6.32 PP	-
Sword Art Online Hollow Realization Deluxe Edition	1.5 TF2	$2.97 PP	-
Syberia: The World Before	1.1 TF2	$2.25 PP	-
Synth Riders	3.5 TF2	$6.87 PP	-
TEKKEN 7	1.4 TF2	$2.74 PP	-
TT Isle of Man Ride on the Edge 2	1.7 TF2	$3.38 PP	-
Tales from the Borderlands	3.8 TF2	$7.49 PP	-
Tales of Berseria	1.1 TF2	$2.09 PP	-
Talisman: Digital Edition	0.4 TF2	$0.87 PP	-
Tank Mechanic Simulator	1.1 TF2	$2.14 PP	-
Telltale Batman Shadows Edition	1.4 TF2	$2.83 PP	-
Terraforming Mars	0.6 TF2	$1.28 PP	-
Terraria	2.2 TF2	$4.31 PP	-
The Ascent	1.1 TF2	$2.1 PP	-
The Battle of Polytopia	0.5 TF2	$0.9 PP	-
The Beast Inside	0.4 TF2	$0.76 PP	-
The Blackout Club	0.6 TF2	$1.11 PP	-
The Dark Pictures Anthology: Little Hope	2.1 TF2	$4.21 PP	-
The Dark Pictures Anthology: Man of Medan	2.2 TF2	$4.37 PP	-
The Darkness II	0.6 TF2	$1.09 PP	-
The Dungeon Of Naheulbeuk: The Amulet Of Chaos	0.8 TF2	$1.5 PP	-
The Escapists 2	1.0 TF2	$1.97 PP	-
The Escapists	0.5 TF2	$1.08 PP	-
The Henry Stickmin Collection	0.7 TF2	$1.43 PP	-
The Incredible Adventures of Van Helsing Final Cut	1.3 TF2	$2.64 PP	-
The Intruder	2.1 TF2	$4.23 PP	-
The Jackbox Party Pack 2	2.0 TF2	$3.96 PP	-
The Jackbox Party Pack 3	2.8 TF2	$5.62 PP	-
The Jackbox Party Pack 4	2.1 TF2	$4.07 PP	-
The Jackbox Party Pack 5	3.1 TF2	$6.06 PP	-
The Jackbox Party Pack	1.1 TF2	$2.14 PP	-
The LEGO Movie 2 Videogame	0.4 TF2	$0.79 PP	-
The Legend of Heroes: Trails in the Sky	1.6 TF2	$3.23 PP	-
The Long Dark	2.6 TF2	$5.21 PP	-
The Long Dark: Survival Edition	0.5 TF2	$0.9 PP	-
The Mortuary Assistant	2.4 TF2	$4.77 PP	-
The Red Solstice 2: Survivors	0.4 TF2	$0.78 PP	-
The Surge 2	0.9 TF2	$1.78 PP	-
The Survivalists	0.8 TF2	$1.53 PP	-
The Talos Principle	1.5 TF2	$2.97 PP	-
The Walking Dead: The Final Season	0.7 TF2	$1.43 PP	-
The Walking Dead: The Telltale Definitive Series	2.4 TF2	$4.75 PP	-
The Witness	3.9 TF2	$7.67 PP	-
The Wolf Among Us	1.2 TF2	$2.42 PP	-
This Is the Police	0.5 TF2	$1.01 PP	-
This War of Mine: Complete Edition	0.7 TF2	$1.41 PP	-
Titan Quest Anniversary Edition	0.6 TF2	$1.16 PP	-
Tomb Raider	1.5 TF2	$2.88 PP	-
Torchlight II	0.7 TF2	$1.38 PP	-
Total Tank Simulator	0.5 TF2	$0.95 PP	-
Total War Shogun 2 Collection	1.7 TF2	$3.46 PP	-
Total War: ATTILA	2.7 TF2	$5.34 PP	-
Total War: Empire - Definitive Edition	1.8 TF2	$3.54 PP	-
Total War: Napoleon - Definitive Edition	1.8 TF2	$3.56 PP	-
Total War: Rome II - Emperor Edition	2.7 TF2	$5.38 PP	-
Total War™: WARHAMMER®	2.9 TF2	$5.76 PP	-
Totally Accurate Battle Simulator	2.8 TF2	$5.56 PP	-
Totally Reliable Delivery Service	0.6 TF2	$1.23 PP	-
Tour de France 2020	0.6 TF2	$1.13 PP	-
Townscaper	0.6 TF2	$1.19 PP	-
Trailmakers Deluxe Edition	1.4 TF2	$2.74 PP	-
Train Simulator Classic	0.8 TF2	$1.58 PP	-
Tribes of Midgard	0.8 TF2	$1.53 PP	-
Tricky Towers	2.0 TF2	$4.0 PP	-
Trine 2: Complete Story	1.2 TF2	$2.28 PP	-
Trine 4: The Nightmare Prince	1.2 TF2	$2.37 PP	-
Trine Ultimate Collection	5.1 TF2	$10.15 PP	-
Tropico 5 – Complete Collection	0.8 TF2	$1.59 PP	-
Tropico 6 El-Prez Edition	2.3 TF2	$4.54 PP	-
Tropico 6	2.3 TF2	$4.47 PP	-
Turmoil	0.5 TF2	$0.96 PP	-
Turok	0.4 TF2	$0.75 PP	-
Tyranny - Gold Edition	0.7 TF2	$1.36 PP	-
Ultimate Chicken Horse	1.8 TF2	$3.56 PP	-
Ultimate Fishing Simulator	0.5 TF2	$0.91 PP	-
Ultimate Marvel vs. Capcom 3	1.8 TF2	$3.59 PP	-
Ultra Street Fighter IV	0.6 TF2	$1.11 PP	-
Undertale	2.1 TF2	$4.2 PP	-
Universe Sandbox	4.8 TF2	$9.41 PP	-
Unrailed!	1.6 TF2	$3.07 PP	-
Until You Fall	0.7 TF2	$1.39 PP	-
VTOL VR	6.4 TF2	$12.66 PP	-
Vacation Simulator	5.2 TF2	$10.21 PP	-
Vagante	0.7 TF2	$1.33 PP	-
Valkyria Chronicles 4 Complete Edition	1.9 TF2	$3.76 PP	-
Valkyria Chronicles™	1.0 TF2	$1.97 PP	-
Vampyr	2.2 TF2	$4.34 PP	-
Verdun	0.4 TF2	$0.72 PP	-
Vertigo Remastered	0.4 TF2	$0.8 PP	-
Visage	2.9 TF2	$5.83 PP	-
Viscera Cleanup Detail	2.0 TF2	$4.05 PP	-
Void Bastards	0.7 TF2	$1.32 PP	-
Volcanoids	1.4 TF2	$2.82 PP	-
Vox Machinae	3.4 TF2	$6.7 PP	-
Wargame: Red Dragon	5.2 TF2	$10.22 PP	-
Wargroove	0.5 TF2	$0.91 PP	-
Warhammer 40,000: Chaos Gate - Daemonhunters	2.0 TF2	$3.89 PP	-
Warhammer 40,000: Dawn of War - Master Collection	1.5 TF2	$2.91 PP	-
Warhammer 40,000: Dawn of War II - Grand Master Collection	2.3 TF2	$4.56 PP	-
Warhammer 40,000: Dawn of War II: Retribution	0.8 TF2	$1.68 PP	-
Warhammer 40,000: Gladius - Relics of War	0.7 TF2	$1.4 PP	-
Warhammer 40,000: Gladius - Tyranids	1.4 TF2	$2.86 PP	-
Warhammer 40,000: Space Marine Collection	3.1 TF2	$6.22 PP	-
Warhammer 40,000: Space Marine	1.7 TF2	$3.28 PP	-
Warhammer: Chaosbane - Slayer Edition	0.9 TF2	$1.88 PP	-
Warhammer: End Times - Vermintide Collector's Edition	0.7 TF2	$1.36 PP	-
Warhammer: Vermintide 2 - Collector's Edition	1.6 TF2	$3.15 PP	-
Warhammer: Vermintide 2	0.7 TF2	$1.44 PP	-
Warhammer® 40,000™: Dawn of War® II	0.6 TF2	$1.25 PP	-
Warhammer® 40,000™: Dawn of War® III	1.8 TF2	$3.49 PP	-
Warpips	0.7 TF2	$1.48 PP	-
Wasteland 3	1.3 TF2	$2.6 PP	-
We Happy Few	0.9 TF2	$1.88 PP	-
We Need to Go Deeper	1.4 TF2	$2.87 PP	-
We Were Here Too	1.2 TF2	$2.38 PP	-
White Day : a labyrinth named school	0.6 TF2	$1.24 PP	-
Who's Your Daddy	1.9 TF2	$3.67 PP	-
Wingspan	1.2 TF2	$2.31 PP	-
Winkeltje: The Little Shop	1.1 TF2	$2.08 PP	-
Witch It	4.2 TF2	$8.22 PP	-
Wizard of Legend	1.8 TF2	$3.56 PP	-
World War Z: Aftermath	4.4 TF2	$8.62 PP	-
Worms W.M.D	1.2 TF2	$2.37 PP	-
X4: Foundations	8.3 TF2	$16.49 PP	-
X4: Split Vendetta	1.8 TF2	$3.56 PP	-
XCOM 2 Collection	1.4 TF2	$2.7 PP	-
XCOM 2	0.4 TF2	$0.76 PP	-
XCOM 2: Reinforcement Pack	0.4 TF2	$0.72 PP	-
XCOM: Enemy Unknown Complete Pack	0.8 TF2	$1.6 PP	-
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XCOM: Ultimate Collection	1.3 TF2	$2.56 PP	-
Yakuza 0	2.4 TF2	$4.76 PP	-
Yakuza 3 Remastered	1.0 TF2	$2.07 PP	-
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Yonder: The Cloud Catcher Chronicles	1.3 TF2	$2.66 PP	-
YouTubers Life	0.7 TF2	$1.42 PP	-
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biped	0.8 TF2	$1.61 PP	-
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So I adopted my nephew (18 months) although technically he’s not my nephew, as it turns out he’s not any biological relation to me his mom and my brother are divorcing and he has a sibling on the way but I’m not interested in adopting them as I doubt they will be seized by the state. there is a longer version of LO’s story on my profile but he was abused not physically violent but verbally and emotionally, he was also forced to watch his mom and actual dad (his dad is not my brother it’s some other guy) have sex from a young age, because his mom couldn’t be bothered to move him
I did foster him while everything was getting sorted out but he had to go back into state care for 12 days while I went on my honeymoon as it was too late to cancel and we couldn’t find anyone to take him, he is now fully mine, we thought he’d have some problems after we left and then came back but nope he was unaffected it’s been over a week since we’ve been back and he’s been fine, we finally finished his room and it’s filled with toys and mats, books posters anything he was excited about we also got he now has a toddler bed instead of a cot with a plank with a weight on it to stop him standing or getting out like he had at his mothers, we had no problems with that transition, a few minor problems trying to get him to stay in his room but we got a door monkey and he’s fine and now does quite time if he’s up before me and my wife are
We got him his first stuffed animal it’s a big ish ginger cow like one of the ones I have on my farm we told him he could sleep with it and play with it or take it anywhere and he got so excited we could hear him in the monitor babbling away to it at night, he never had any comfort items at his moms she didn’t believe in toys or pacifiers, he jumped and laughed with joy he took it everywhere to my farm to daycare car rides you name it he took it
Our major problem is a few days ago he started crying and running away anytime we came near him he’s instead hold his stuffy and run away and hide or curl up in a corner, if we approached he screams and cries if we touched him he’d kick or bite, he won’t take his bottle from us and he’s refusing most solids, in order to feed him we have to set the bottle or plate on the living room table then leave the room after about 5 mins he will start to feed himself if it’s solid food it’s really messy if it’s a bottle he grabs it and runs and hides he will cry a little,
We have tried hugging him signing to him talking it out with him, but he still runs and hides, it’s so difficult to change him we have to actually grab him and hold him down he will cry and scream and hold his stuffy even tighter, he can’t be separated from it, he’s also started crying in his bed but we can’t go near him otherwise it makes it worse so I just sleep in his doorway with the door open so he can see me, His stuffie fell out of the bed one night and I awoke go to most bloodcurdling scream he was shoving himself into the corner of his bed tears streaming down his face banging his head against the wall, I picked the stuffie up of the ground handed it to him and left the room, he immediately calmed into a wimped and sniffle before falling asleep curled up in a ball
He’s a different person than the one I used to know I thought maybe all the new stuff was overwhelming but he uses it all and he enjoys it all I tried taking a few things away (I didn’t try taking the stuffie just the big puzzle or the water drawing Matt) and he freaked so I put them back, ever since i gave him the stuffie he’s been like this, he’s in play therapy but his next session isn’t until Wednesday, he’s been able to mime out using toys a lot of stuff including his mom having sex, I thought he wouldn’t remember a lot of this stuff as he was an infant for most of it but he does
He’s been temporarily barred from daycare as he now avoids the other kids and cries if any of them try to come near him or interact and refused to be fed by the attendant, a girl came up to him and took his stuffie because she’s 17 months and dosent know better yet and he charged her and hit her and jumped on her then bit her all while screaming before the attendant was able to pull him off the attendant took the stuffie and he freaked out again so she gave it back and he ran and hid under a table and calmed down by himself, the poor girl has a black eye and a bruised forehead with a big ish bite just above her wrist
When he was with his mom he would be put in another room if he cried for food outside of scheduled feeding time at 1wk, if he was napping he would be woken up if it wasn’t a scheduled nap, he had a plank of wood weighted down over his crib to stop him standing, if he made noises he was told to be quiet, if he crawled away from them he would be brought back and force fully held, if he crawled and they didn’t want to watch him he would be strapped into a car seat to stop him, when he was trying to walk he would be shoved to the ground, if he held his arms out to be held when they didn’t want to hold him (which was fairly often unfortunately) he would be told no and they would shove his arms away, they yelled at him because his first word wasn’t what they wanted it to be, he wasn’t allowed toys or pacifiers at his house, his clothes where not stereotypical baby clothes and if he took them off as he grew older he would be yelled at and strapped into his high chair as a punishment
I’m seriously overwhelmed and I feel like I failed him already maybe it would have been better if I let the state find someone else to adopt him, maybe being with me is just to familiar to the abuse since I was a face he seen regularly aftebefore he had been abused in secret. He used to be so happy to see me when I babysat him for 5 days a week most weeks in the first year of his life, I was his first word, when we brought him home for his first night at ours he hugged me we played for hours together I read him a story to go to bed we read together most nights even now when he won’t let me near him I still read to him. All the happyness and joy is gone from him i don’t know where to start

Introduction

I closed Diablo IV today feeling saddened and disappointed. I didn't want to play anymore. Less than a week after the release of a brand new game in a series I hold dear to my heart, I've found myself burnt out and un-engaged with the flow of the game. I feel punished for playing the game in the ways I want to play, and frustrated with the pacing and flow.

This article is as much an exploration of Diablo IV from a mechanical perspective as it is a way for me to get off my chest how I feel about the latest in the Diablo series. I will be deep diving into the mechanics of D4, the 'workflow' of the game as you progress into higher difficulty levels, and the strengths and weaknesses of the itemization. For you, the reader, I hope you take away from this article my sincere passion for the Diablo series, to enjoy the story I have written, and to maybe learn something along the way.

Diablo III - A Story

I love Diablo III. I remember launch day and the hours of queues (and crashes). I remember the first time I beat Inferno Diablo (post-nerf, I wasn't that good). Critical Mass Wizards, MP10 Uber Runs, the RMAH and the changes to legendaries, sets, and the Mystic. I made top-1000 in Season 1 with Ball Lighting DH and while I only played a few seasons between S1 and S27, I came back full-force in S28 and peaked at #23 on the 2p boards playing support DH. Over the years, I've put in about 1,700 hours into Diablo III and I truly and sincerely enjoyed my time in the game. In many ways, I grew up with Diablo III the way many of you grew up with Diablo II.

It probably goes without saying, but I am an obviously high-investment gamer. I slept about 14 hours in the first three days of S23 to make top placements, and while I wasn't setting any world records, I was keeping pace with the big boys for the first few days. I wanted to put to bed the game that had brought me hundreds of hours of joy with a bang, and I gave it my all. I read strategy guides, optimized my gameplay, leveled as efficiently as possible, and 'did the grind.' I minimize my game settings to get the absolute maximum amount of FPS and the fastest response time. I find games most engaging when I am able to perform optimally, finding optimizations and strategies that allow me to progress. I enjoy the grind for new gear, each run pushing me towards a stronger character. I enjoy using the game mechanics to select a difficulty that provides an engaging and challenging experience with which to leverage both my mechanical skill and game knowledge.

By Season 28, Diablo III captures these desires brilliantly. The abundance of difficulty levels (both Torment and Greater Rifts) allows the player to fine-tune their experience. For those highly engaged, the ability to find and reproduce high-level builds is easy. I can both see what builds are working at the high-end of grifts, as well as to look up guides for builds designed for speed-farming and other miscellaneous tasks that Diablo III throws at the player (bounties, rifts, ubers, etc). The Alter of Rites created some 'busywork' that, for the most part, I didn't mind doing. I haven't farmed up Chiltara since I first made my Infernal Staff of Herding in the before-times; while it wasn't particularly fun here in Season 28, I didn't mind doing it because the payoff was going to be pretty sweet. It was a very cool way to create things to do in a game otherwise highly focused on the rift gameplay loop.

I closed Diablo III a few weeks after season start, content with my max gems, 150 GR clears, and nearly full ancient sets of gear for each Demon Hunter set. With nothing left to achieve, I looked forward at Diablo IV with hope. Not willing to be mislead by recent Blizzard decisions (I'm looking at you OW2), I decided to wait to hear from the game reviews and let others decide whether or not I wanted to purchase Diablo IV. With high praise coming from both critics and the general population, I bought into the game a couple days after the pre-release started and got started on the game.

Diablo IV - First Impressions

For Diablo IV, I really wanted to re-experience how Diablo III felt at the start. A blank slate with no preconceptions, no push towards any particular playstyle, and to give the game a fresh opportunity to wow me. To start, I would say it did. Any new game is relatively overwhelming at first, but I quickly found my groove and started finding builds I really enjoyed playing. I don't really follow or care about story and/or lore in my games (I know, it's unusual), so I just played through the campaign, doing side quests, dungeons, and skipping dialogue, cutscenes, and basically anything that wasn't "kill enemies, get stronger." This is where I ran into my first major problem.

The campaign is way too damn long for a player like myself. For me, I want to get to the end-game gameplay loop as quickly as possible. The game is fun when I have access to all of the tools to make myself better. The least fun part of Diablo III is leveling from 1-70, and I wouldn't say that I really get into the game until I've gotten all my legendaries I need for my build and I begin the farming loop. When a game arbitrarily restricts the player behind time gates, I begin to lose interest. Of course, I wasn't going to just give up this early so I pushed through and finished the campaign only a day or two after starting. The largest problem was simply that the decisions I made now didn't really matter. It wasn't worth taking the time to optimize a piece of gear that I would throw away in five levels. I didn't need to look at the smaller stats, I knew that I would find a major damage upgrade in a little bit that would make any investment into this piece of gear a waste of valuable resources. This was just a time sink before 'the real game' could begin.

In praise, I think the skill tree is awesome. I really enjoy how it flows, enabling players to adjust their builds in very nuanced and intricate ways. One of the things I loved having the flexibility to do in the early game was to swap around my build with ease. I didn't mind throwing a thousand gold into a full respec and I could try out all these cool new skills as time went on. I wish I could continue my praises though as the campaign came to a close and the endgame began.

Diablo IV - The Grind

Renown really sucks. It was neat at first - getting to explore this huge open world that had been made and the flow between different environments and mob types is very cool. I got on my newly acquired horse and began dashing around grabbing waypoints. I then began on some strongholds, another awesome addition that I enjoyed exploring. The Altars of Lilith were next, and this is where I ran into my first wall. One hundred and sixty altars. This isn't 160 Altars where at the end, I get some sick new piece of gear, a new skill, or a special legendary that pays off. I get +68 to all stats and a few paragon points. I thought to myself, y'know, this isn't very fun, but I guess riding the horse isn't that bad and the developers found something kinda cool to tuck into all the corners of the map. It wasn't particularly fun, but I finally finished all my altars and set my sights on renown five for each region. I obviously needed the paragon points to continue to progress, how bad could this be?

Do you remember how I mentioned 14 hours of sleep in three days when I grinded Season 28? I am no stranger to long gaming days filled with a monotonous grind. I still have not completed renown five in each of the regions. The most efficient way to complete it is to over-level yourself into World Tier 4, then go back to World Tier 1 and spend ten hours running around doing side quests and under-leveled dungeons as quickly as possible. The best way to optimize this process is to get yourself some higher level materials while doing side quests during Helltide, and to do 4-person split dungeons to knock them off as quickly as possible. Let's walk through this grind process. To run these dungeons, you have to teleport to a region (loading screen), hop on your horse (which can't sprint in town), hope your horse sprint doesn't run out by the time you get to your location (otherwise it has to run slowly), enter the dungeon (loading screen), complete the dungeon while ignoring all the loot and performing no meaningful game actions, exit the dungeon (loading screen) and then repeat the process another 100 times. This is not a fun grind. This is time consumption at it's absolute worst. I am not getting anything new or shiny to play with while I perform this process. Even with a build tuned to the highest level for speed, this grind still sucks hours of time down the drain. This is not a good grind. This is the Chilitara grind without the RNG but requiring tens of hours more time invested. I'd rather have a 1% chance to complete all five tiers of renown whenever I complete a dungeon because at least I could just run dungeons for gear or XP without having to spend this much time on a horse or in a loading screen without seeing or getting a new thing that is even remotely interesting.

And while I'm on the subject of gear, let's talk about itemization in Diablo IV.

Diablo IV - The Items

Diablo IV's itemization is really cool in a lot of ways. I love the return of named unique items from Diablo II. I think generally, the incremental strength of normal -> sacred -> ancestral to be an upgrade from normal -> ancient -> primal ancient from Diablo III. I like the idea behind extracting and imprinting legendaries, and the Codex is an incredible design that I think cannot be spoken highly enough about. It does a great job at enabling your minimum viable build extremely quickly without any RNG. The game truly begins when you have your build assembled and with few exceptions, most builds can be assembled with just the codex. (Dungeons feeding the codex is a great idea). You can make focused dedicated progress towards your build throughout the game and once you've completed your build, you can easily find new upgrades through 'actual' legendary drops. I think this is an incredibly well designed system and I cannot praise it enough.

I think we start to run into problems when the decision was made not to allow players to extract legendary affixes from items that they imbue. This creates a perverse incentive - that players are incentivized towards a behaviour that is unintended and broadly negative, hoarding. Players are required to 'invest' in their gear with a given legendary affix and once you go in, you can't go back. I cannot in good faith justify putting this 'perfect' rolled legendary affix on an item at level 50 with 2 wrong stats on it. I know I will probably find another eventually, but there is no incentive to risk having to grind for it later when I inevitably find that upgrade. I'll state it again, I don't mind grinding for a new item, but I really don't enjoy making decisions that will punish me in five, ten, or twenty hours from now when I realize I need a key piece of gear that I threw away on an item I can't ever get back. Part of the core fun in an end-game Diablo loop is that search for the next best thing. When you pair that next best thing with fear of missing out, you are provided a very un-fun experience. When is a gear piece 'good enough'? Diablo III has an investment system in the form of Caldesann's Despair (augmentation) and this system almost never felt bad. I could invest a 125 gem on a very nice ancient piece of gear at level 70 because I knew that the next time I'd find a piece of gear this good would be more time than the amount of time it would take to farm up another 125 gem. This system works really well at mitigating this perverse incentive. You can invest, it's okay, it won't burn you later.

Let's talk about burned.

Diablo IV - Skill Flexibility

Diablo III absolutely streamlined skill flexibility. With the single click of a button, I could pivot radically between full class sets and a six skill action bar full ready to go. Sure, the initial setup took a bit of time but it was very convenient when switching between different builds. One of the strengths of the Diablo series is the nuanced and interesting ways you can combine legendary effects with skills in a plethora of interesting ways. I really didn't mind Diablo IV's skill 'undo' button through the start of the game. You have to spend a bit of gold sure. It's not free, but it doesn't need to be free. I can stand taking 30 or 60 minutes to undo all my skill points, reassign them to a new build, and swap my gear around to some spares I've been hoarding for this very purpose. What I cannot stand is the sheer cost of doing so in Diablo IV. Gold is a limited resource, as is all crafting materials. This is a good thing! Diablo III had some big problems in the early days with a host of unnecessary materials and an abundance of excess (and meaningless) gold. The problem is that it is not, in any way, efficient or effective to try out a new build. I have to invest heavily into my gear, both with legendary affixes, upgrades, re-rolls, and the skill tree. It seems far easier to simply make a new character than it is to use my existing stash of loot that I've been grinding for.

I know that for the Diablo II players that this complaint may fall on deaf ears (and very reasonably so). This is a component that exists in other modern ARPG games like Path of Exile. You invest in a character, in your build, and you stick with it. This forces the player into a single style of play, which for some, is just fine. Plenty of folks are happy to just chug along with their WW Barbarian or lightning Sorcerer for the whole game and for you, I'm glad you're finding this decision a meaningful and enjoyable part of the game. I really enjoy flexibility. I want to be able to swap from traps to daggers to a bow build in an instant. I got a bit tired of Twisting Blades and I wanted to try out Penetrating Shot on my Rogue. I couldn't afford it. I would have to go grind up all the materials and gold I needed on a build I was already bored of before I could swap to something new. I would have to spend all my resources reconfiguring my build and if I was wrong (maybe I don't like the playstyle of Penetrating Shot), I would have to grind all those resources AGAIN to swap back to Twisting Blades. Alternatively, I can go complete the campaign again on a brand new character and I've already been over how miserable the campaign grind was for me.

It was looking at this cost that made me walk away from Diablo IV tonight. I was bored and couldn't try out something new. I had just competed three hours of renown grinding, found nothing new I wanted, hadn't improved my character outside of a few paragon points and an eighth of a level, and didn't have it in me to keep grinding.

Diablo IV - The Awesome

I don't want to leave this article on a sad note. I do love this game. I think the ability to equip both a bow and daggers on the rogue at the same time is an awesome addition to the genre. The depth of affixes means that each item really forces me to evaluate how it would change my build and really reminds me of Diablo II itemization. Diablo III has a very stale formulaic approach to affix prioritization and sets are highly limiting in build experimentation. Diablo IV has a baseline that really explores the depth available in the genre and I am so excited to see where Blizzard can take it from here. Legendaries and unique items are flavourful and the combinations exciting. The ability to extract and imprint affixes changes a core problem in Diablo III and I already love the way it flows in this game.

I love nightmare dungeons. Greater rifts are very formulaic and monotonous, and I really don't mind that horse ride over to a nightmare dungeon across this huge awesome world. I could do without the loading screens, even with an excellent PC it's still way more than 0 load time which is the standard I've come to expect from Diablo III. Helltides are a much better way to force players out into the world than bounties ever were, and I love seeing them pop up so I can crack open a mysterious chest and see what sick loot pops out. The world boss is a way to experience Diablo unlike anything ever seen before (I never got into WoW) and I absolutely love the experience.

Combat in Diablo IV is leagues above Diablo III's. The game flow during combat is meaningful and skill rewarding. Evasion of attacks, especially on boss fights, is an incredibly skill testing experience and I love the way each fight plays out. Diablo III had nothing of the sort and it really shines in the slower gameplay of Diablo IV.

Diablo IV has the baseline to become a far better game than Diablo III ever was. I think there are many ways that it stands to be improved, and while I know I will play in Season 1, I will struggle with many of the things I've outlined above. I know much of this article is pessimisstic, but it comes from my heart. I hope you are all enjoying the game, it is truly an excellent addition to the Diablo series. Knowing what Diablo III looked like at launch, I can expect to see much of this stuff fixed over the next few years, but it still pains me that from day one these are issues that are fundamentally pushing me away from the game.
At the end of the day, we all just want to kill some demons and watch our characters get stronger. Stay safe out there adventurers, Sanctuary is relying on you.

Post-Script

I had a few closing bullet-points I didn't have time to write about in the main article or didn't add to the flow of the discussion.

• Why do gems take up inventory space? Why is my ability to upgrade them gated by my level? Why does it cost so much to unsocket them?
  
• Why is the horse gated on its sprint? It's primary function is to cross the map efficiently, why are we forcing the player to spend any time at all moving slowly?
  
• Why are the core components of each town so far away? I don't mind walking around a large town during a gear respec where each artisan takes a fair amount of time, but when I'm going in and out of town to dump loot and then return to the hack and slash it takes forever to walk around.
  
• Why can't I decide how hard the mobs are during gameplay? Sometimes I want to fight against easy mobs, sometimes I want to fight against hard mobs. Nightmare dungeons let me choose the difficulty, why can't I make that decision for myself in the overworld?
  
• Why can't I party up from the main menu?
  
• Why does it cost so much to reroll my gear?
  

Introduction

I closed Diablo IV today feeling saddened and disappointed. I didn't want to play anymore. Less than a week after the release of a brand new game in a series I hold dear to my heart, I've found myself burnt out and un-engaged with the flow of the game. I feel punished for playing the game in the ways I want to play, and frustrated with the pacing and flow.

This article is as much an exploration of Diablo IV from a mechanical perspective as it is a way for me to get off my chest how I feel about the latest in the Diablo series. I will be deep diving into the mechanics of D4, the 'workflow' of the game as you progress into higher difficulty levels, and the strengths and weaknesses of the itemization. For you, the reader, I hope you take away from this article my sincere passion for the Diablo series, to enjoy the story I have written, and to maybe learn something along the way.

Diablo III - A Story

I love Diablo III. I remember launch day and the hours of queues (and crashes). I remember the first time I beat Inferno Diablo (post-nerf, I wasn't that good). Critical Mass Wizards, MP10 Uber Runs, the RMAH and the changes to legendaries, sets, and the Mystic. I made top-1000 in Season 1 with Ball Lighting DH and while I only played a few seasons between S1 and S27, I came back full-force in S28 and peaked at #23 on the 2p boards playing support DH. Over the years, I've put in about 1,700 hours into Diablo III and I truly and sincerely enjoyed my time in the game. In many ways, I grew up with Diablo III the way many of you grew up with Diablo II.

It probably goes without saying, but I am an obviously high-investment gamer. I slept about 14 hours in the first three days of S23 to make top placements, and while I wasn't setting any world records, I was keeping pace with the big boys for the first few days. I wanted to put to bed the game that had brought me hundreds of hours of joy with a bang, and I gave it my all. I read strategy guides, optimized my gameplay, leveled as efficiently as possible, and 'did the grind.' I minimize my game settings to get the absolute maximum amount of FPS and the fastest response time. I find games most engaging when I am able to perform optimally, finding optimizations and strategies that allow me to progress. I enjoy the grind for new gear, each run pushing me towards a stronger character. I enjoy using the game mechanics to select a difficulty that provides an engaging and challenging experience with which to leverage both my mechanical skill and game knowledge.

By Season 28, Diablo III captures these desires brilliantly. The abundance of difficulty levels (both Torment and Greater Rifts) allows the player to fine-tune their experience. For those highly engaged, the ability to find and reproduce high-level builds is easy. I can both see what builds are working at the high-end of grifts, as well as to look up guides for builds designed for speed-farming and other miscellaneous tasks that Diablo III throws at the player (bounties, rifts, ubers, etc). The Alter of Rites created some 'busywork' that, for the most part, I didn't mind doing. I haven't farmed up Chiltara since I first made my Infernal Staff of Herding in the before-times; while it wasn't particularly fun here in Season 28, I didn't mind doing it because the payoff was going to be pretty sweet. It was a very cool way to create things to do in a game otherwise highly focused on the rift gameplay loop.

I closed Diablo III a few weeks after season start, content with my max gems, 150 GR clears, and nearly full ancient sets of gear for each Demon Hunter set. With nothing left to achieve, I looked forward at Diablo IV with hope. Not willing to be mislead by recent Blizzard decisions (I'm looking at you OW2), I decided to wait to hear from the game reviews and let others decide whether or not I wanted to purchase Diablo IV. With high praise coming from both critics and the general population, I bought into the game a couple days after the pre-release started and got started on the game.

Diablo IV - First Impressions

For Diablo IV, I really wanted to re-experience how Diablo III felt at the start. A blank slate with no preconceptions, no push towards any particular playstyle, and to give the game a fresh opportunity to wow me. To start, I would say it did. Any new game is relatively overwhelming at first, but I quickly found my groove and started finding builds I really enjoyed playing. I don't really follow or care about story and/or lore in my games (I know, it's unusual), so I just played through the campaign, doing side quests, dungeons, and skipping dialogue, cutscenes, and basically anything that wasn't "kill enemies, get stronger." This is where I ran into my first major problem.

The campaign is way too damn long for a player like myself. For me, I want to get to the end-game gameplay loop as quickly as possible. The game is fun when I have access to all of the tools to make myself better. The least fun part of Diablo III is leveling from 1-70, and I wouldn't say that I really get into the game until I've gotten all my legendaries I need for my build and I begin the farming loop. When a game arbitrarily restricts the player behind time gates, I begin to lose interest. Of course, I wasn't going to just give up this early so I pushed through and finished the campaign only a day or two after starting. The largest problem was simply that the decisions I made now didn't really matter. It wasn't worth taking the time to optimize a piece of gear that I would throw away in five levels. I didn't need to look at the smaller stats, I knew that I would find a major damage upgrade in a little bit that would make any investment into this piece of gear a waste of valuable resources. This was just a time sink before 'the real game' could begin.

In praise, I think the skill tree is awesome. I really enjoy how it flows, enabling players to adjust their builds in very nuanced and intricate ways. One of the things I loved having the flexibility to do in the early game was to swap around my build with ease. I didn't mind throwing a thousand gold into a full respec and I could try out all these cool new skills as time went on. I wish I could continue my praises though as the campaign came to a close and the endgame began.

Diablo IV - The Grind

Renown really sucks. It was neat at first - getting to explore this huge open world that had been made and the flow between different environments and mob types is very cool. I got on my newly acquired horse and began dashing around grabbing waypoints. I then began on some strongholds, another awesome addition that I enjoyed exploring. The Altars of Lilith were next, and this is where I ran into my first wall. One hundred and sixty altars. This isn't 160 Altars where at the end, I get some sick new piece of gear, a new skill, or a special legendary that pays off. I get +68 to all stats and a few paragon points. I thought to myself, y'know, this isn't very fun, but I guess riding the horse isn't that bad and the developers found something kinda cool to tuck into all the corners of the map. It wasn't particularly fun, but I finally finished all my altars and set my sights on renown five for each region. I obviously needed the paragon points to continue to progress, how bad could this be?

Do you remember how I mentioned 14 hours of sleep in three days when I grinded Season 28? I am no stranger to long gaming days filled with a monotonous grind. I still have not completed renown five in each of the regions. The most efficient way to complete it is to over-level yourself into World Tier 4, then go back to World Tier 1 and spend ten hours running around doing side quests and under-leveled dungeons as quickly as possible. The best way to optimize this process is to get yourself some higher level materials while doing side quests during Helltide, and to do 4-person split dungeons to knock them off as quickly as possible. Let's walk through this grind process. To run these dungeons, you have to teleport to a region (loading screen), hop on your horse (which can't sprint in town), hope your horse sprint doesn't run out by the time you get to your location (otherwise it has to run slowly), enter the dungeon (loading screen), complete the dungeon while ignoring all the loot and performing no meaningful game actions, exit the dungeon (loading screen) and then repeat the process another 100 times. This is not a fun grind. This is time consumption at it's absolute worst. I am not getting anything new or shiny to play with while I perform this process. Even with a build tuned to the highest level for speed, this grind still sucks hours of time down the drain. This is not a good grind. This is the Chilitara grind without the RNG but requiring tens of hours more time invested. I'd rather have a 1% chance to complete all five tiers of renown whenever I complete a dungeon because at least I could just run dungeons for gear or XP without having to spend this much time on a horse or in a loading screen without seeing or getting a new thing that is even remotely interesting.

And while I'm on the subject of gear, let's talk about itemization in Diablo IV.

Diablo IV - The Items

Diablo IV's itemization is really cool in a lot of ways. I love the return of named unique items from Diablo II. I think generally, the incremental strength of normal -> sacred -> ancestral to be an upgrade from normal -> ancient -> primal ancient from Diablo III. I like the idea behind extracting and imprinting legendaries, and the Codex is an incredible design that I think cannot be spoken highly enough about. It does a great job at enabling your minimum viable build extremely quickly without any RNG. The game truly begins when you have your build assembled and with few exceptions, most builds can be assembled with just the codex. (Dungeons feeding the codex is a great idea). You can make focused dedicated progress towards your build throughout the game and once you've completed your build, you can easily find new upgrades through 'actual' legendary drops. I think this is an incredibly well designed system and I cannot praise it enough.

I think we start to run into problems when the decision was made not to allow players to extract legendary affixes from items that they imbue. This creates a perverse incentive - that players are incentivized towards a behaviour that is unintended and broadly negative, hoarding. Players are required to 'invest' in their gear with a given legendary affix and once you go in, you can't go back. I cannot in good faith justify putting this 'perfect' rolled legendary affix on an item at level 50 with 2 wrong stats on it. I know I will probably find another eventually, but there is no incentive to risk having to grind for it later when I inevitably find that upgrade. I'll state it again, I don't mind grinding for a new item, but I really don't enjoy making decisions that will punish me in five, ten, or twenty hours from now when I realize I need a key piece of gear that I threw away on an item I can't ever get back. Part of the core fun in an end-game Diablo loop is that search for the next best thing. When you pair that next best thing with fear of missing out, you are provided a very un-fun experience. When is a gear piece 'good enough'? Diablo III has an investment system in the form of Caldesann's Despair (augmentation) and this system almost never felt bad. I could invest a 125 gem on a very nice ancient piece of gear at level 70 because I knew that the next time I'd find a piece of gear this good would be more time than the amount of time it would take to farm up another 125 gem. This system works really well at mitigating this perverse incentive. You can invest, it's okay, it won't burn you later.

Let's talk about burned.

Diablo IV - Skill Flexibility

Diablo III absolutely streamlined skill flexibility. With the single click of a button, I could pivot radically between full class sets and a six skill action bar full ready to go. Sure, the initial setup took a bit of time but it was very convenient when switching between different builds. One of the strengths of the Diablo series is the nuanced and interesting ways you can combine legendary effects with skills in a plethora of interesting ways. I really didn't mind Diablo IV's skill 'undo' button through the start of the game. You have to spend a bit of gold sure. It's not free, but it doesn't need to be free. I can stand taking 30 or 60 minutes to undo all my skill points, reassign them to a new build, and swap my gear around to some spares I've been hoarding for this very purpose. What I cannot stand is the sheer cost of doing so in Diablo IV. Gold is a limited resource, as is all crafting materials. This is a good thing! Diablo III had some big problems in the early days with a host of unnecessary materials and an abundance of excess (and meaningless) gold. The problem is that it is not, in any way, efficient or effective to try out a new build. I have to invest heavily into my gear, both with legendary affixes, upgrades, re-rolls, and the skill tree. It seems far easier to simply make a new character than it is to use my existing stash of loot that I've been grinding for.

I know that for the Diablo II players that this complaint may fall on deaf ears (and very reasonably so). This is a component that exists in other modern ARPG games like Path of Exile. You invest in a character, in your build, and you stick with it. This forces the player into a single style of play, which for some, is just fine. Plenty of folks are happy to just chug along with their WW Barbarian or lightning Sorcerer for the whole game and for you, I'm glad you're finding this decision a meaningful and enjoyable part of the game. I really enjoy flexibility. I want to be able to swap from traps to daggers to a bow build in an instant. I got a bit tired of Twisting Blades and I wanted to try out Penetrating Shot on my Rogue. I couldn't afford it. I would have to go grind up all the materials and gold I needed on a build I was already bored of before I could swap to something new. I would have to spend all my resources reconfiguring my build and if I was wrong (maybe I don't like the playstyle of Penetrating Shot), I would have to grind all those resources AGAIN to swap back to Twisting Blades. Alternatively, I can go complete the campaign again on a brand new character and I've already been over how miserable the campaign grind was for me.

It was looking at this cost that made me walk away from Diablo IV tonight. I was bored and couldn't try out something new. I had just competed three hours of renown grinding, found nothing new I wanted, hadn't improved my character outside of a few paragon points and an eighth of a level, and didn't have it in me to keep grinding.

Diablo IV - The Awesome

I don't want to leave this article on a sad note. I do love this game. I think the ability to equip both a bow and daggers on the rogue at the same time is an awesome addition to the genre. The depth of affixes means that each item really forces me to evaluate how it would change my build and really reminds me of Diablo II itemization. Diablo III has a very stale formulaic approach to affix prioritization and sets are highly limiting in build experimentation. Diablo IV has a baseline that really explores the depth available in the genre and I am so excited to see where Blizzard can take it from here. Legendaries and unique items are flavourful and the combinations exciting. The ability to extract and imprint affixes changes a core problem in Diablo III and I already love the way it flows in this game.

I love nightmare dungeons. Greater rifts are very formulaic and monotonous, and I really don't mind that horse ride over to a nightmare dungeon across this huge awesome world. I could do without the loading screens, even with an excellent PC it's still way more than 0 load time which is the standard I've come to expect from Diablo III. Helltides are a much better way to force players out into the world than bounties ever were, and I love seeing them pop up so I can crack open a mysterious chest and see what sick loot pops out. The world boss is a way to experience Diablo unlike anything ever seen before (I never got into WoW) and I absolutely love the experience.

Combat in Diablo IV is leagues above Diablo III's. The game flow during combat is meaningful and skill rewarding. Evasion of attacks, especially on boss fights, is an incredibly skill testing experience and I love the way each fight plays out. Diablo III had nothing of the sort and it really shines in the slower gameplay of Diablo IV.

Diablo IV has the baseline to become a far better game than Diablo III ever was. I think there are many ways that it stands to be improved, and while I know I will play in Season 1, I will struggle with many of the things I've outlined above. I know much of this article is pessimisstic, but it comes from my heart. I hope you are all enjoying the game, it is truly an excellent addition to the Diablo series. Knowing what Diablo III looked like at launch, I can expect to see much of this stuff fixed over the next few years, but it still pains me that from day one these are issues that are fundamentally pushing me away from the game.
At the end of the day, we all just want to kill some demons and watch our characters get stronger. Stay safe out there adventurers, Sanctuary is relying on you.

Post-Script

I had a few closing bullet-points I didn't have time to write about in the main article or didn't add to the flow of the discussion.

• Why do gems take up inventory space? Why is my ability to upgrade them gated by my level? Why does it cost so much to unsocket them?
  
• Why is the horse gated on its sprint? It's primary function is to cross the map efficiently, why are we forcing the player to spend any time at all moving slowly?
  
• Why are the core components of each town so far away? I don't mind walking around a large town during a gear respec where each artisan takes a fair amount of time, but when I'm going in and out of town to dump loot and then return to the hack and slash it takes forever to walk around.
  
• Why can't I decide how hard the mobs are during gameplay? Sometimes I want to fight against easy mobs, sometimes I want to fight against hard mobs. Nightmare dungeons let me choose the difficulty, why can't I make that decision for myself in the overworld?
  
• Why can't I party up from the main menu?
  
• Why does it cost so much to reroll my gear?
  

Is there any way to free Zybilna without the Unicorn horn? My players placed the horn in the rocking horse so it’s no longer an option, and they don’t have the necessary weapons to destroy the cauldron. I’m thinking I may have to allow them to summon the unicorn, or place a fire/frost weapon somewhere in the story.

I've been watching the show since the original documentary made waves. Its had a lot of great episodes and captivating seasons, and just as many uncomfortable stretches and eye rollers. However, if you think back from the very beginning to the end of Season 25, and everything adjacent, there seems to be an arching story of sorts.
You'll remember the genuine curiosity and homemade nature of the early stuff. Zak was building his persona, and the rest of the crew were figuring out their roles around him. After a bit of time, they had developed a rhythm, had their characters, and started playing with a lot of new tech.
Once they established their tools and toys, the next era of the show began. The provocation became more intense, Zak started getting "possessed", and the generally "dark spirits" became darker. Demons, curses, and attachments became more prevalent. Anger was an undertone of everything.
Then Zak got weird... weirder, anyway. This is the era we've been in for quite some time. The other members of the team have had to re-discover how they fit in around him. It's been uncomfortable, to say the least. I have some theories about that, but they're based on some broad assumptions and the complete suspension of disbelief - maybe I'll share my thoughts on that if this post is recieved well enough.
Anyway, I just watched the first episode of Season 26. The attitude, or overall vibe of the investigation changed a bit from the end of last season. Which brings me to my thought. I would love to see the story of the team evolve once again. Perhaps Zak's growing and debilitating anxieties, his developing "sensitivity", along with Aaron's and Jay's generally calm nature, and Billy's eagerness, they might begin to take on a new perspective.
Wouldn't it be a cool story if they now became a compassionate and empathetic group? Realizing the weight that shouting at upset spirits and looking for the darkest things in every spooky corner carries, they begin to work towards a redemption of spirtual karma, of sorts. They work towards understanding and helping. Zak starts getting his poop back in a group, the team starts having fun again, and they walk away from investigations with a sense of accomplishment as opposed to exhausted relief. A couple of Seasons go by, and then they retire the show, coming full circle.
Anyway, just a thought.

I am currently trying to figure out how to trigger this quest but am stumped. I HAD to restart my game about a week ago and because of this I still do not have Eric and Stitch in my valley, and have unlocked the Lion King and Toy Story realms but haven’t moved the characters in due to grinding through other villagers questlines. But I do have everyone else including Fairy Godmother. I have her to max friendship lvl and have completed ALL of her quests. I went to the dreamscape and collected all the memories and such.
However I still cant not seem to trigger the Forgotten Relics quest, which I believe is what triggers the next part of the story.
Mickey and Scar’s houses have purple cracks in them, I am assuming they are from The Forgotten, and I’m not sure how to get rid of them.
When I search up on Google how to trigger the quest it just says “once you’ve wrapped up enough questlines Merlin will have a quest for you.”
Does anyone know what questlines I should try to target first in hopes of triggering The Forgotten Relics quest? I only have one more quest for Scar and have finished a lot of villagers questlines, but not everyone’s.

PayPal F&F. Shipped media mail, packaged with care. US only.
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In the Bible and Christian folk lore, what are some things we associate with demons/the Devil?

• Hell – A realm of the damned. Divine punishment and fire. Under the ground.
• Deals with the Devil – Offering mortals power, wisdom, wealth etc, in exchange for their souls.

Where do Faceless Men come from?

Yoren found Jaqen in a black cell, the same as Rorge and Biter, she remembered. Jaqen did something horrible and Yoren knew, that's why he kept him in chains. If the Lorathi was a wizard, Rorge and Biter could be demons he called up from some hell, not men at all. A Clash of Kings - Arya IX

Jaqen's our main Faceless Man. He's found in a hell, under the earth, where sinners are punished, amongst demons.

If you would be one of us, you had best know who we are and how we came to be...We have flowered in Braavos amongst these northern fogs, but we first took root in Valyria, amongst the wretched slaves who toiled in the deep mines beneath the Fourteen Flames that lit the Freehold's nights of old. ... So the mines of old Valyria were always hot, and they grew hotter as the shafts were driven deeper, ever deeper. The slaves toiled in an oven. The rocks around them were too hot to touch. The air stank of brimstone and would sear their lungs as they breathed it.
"Burnt and blackened corpses were oft found in shafts where the rocks were cracked or full of holes. Yet still the mines drove deeper. Slaves perished by the score, but their masters did not care. Red gold and yellow gold and silver were reckoned to be more precious than the lives of slaves, for slaves were cheap in the old Freehold. During war, the Valyrians took them by the thousands. In times of peace they bred them, though only the worst were sent down to die in the red darkness." A Feast for Crows - Arya II

The deeper you go, the hotter it gets. Only the worst are sent down amongst the searing brimstone.
Whether it's the earliest Faceless Man in the story, or the story of the earliest Faceless Man, the hell-like imagery remains the same. GRRM seems intent on putting the focus in a subterranean place of punishment & involuntary service.
That language of the god of death, tunnels through the earth's surface, worlds of fire, and explicit mention of hell all come through in the scene where Arya frees Jaqen and his demons:

And then a wheel was looming over her. The wagon jumped and moved a half foot when Biter threw himself against his chains again. Jaqen saw her, but it was too hard to breathe, let alone talk. She threw the axe into the wagon. Rorge caught it and lifted it over his head, rivers of sooty sweat pouring down his noseless face. Arya was running, coughing. She heard the steel crash through the old wood, and again, again. An instant later came a crack as loud as thunder, and the bottom of the wagon came ripping loose in an explosion of splinters.
Arya rolled headfirst into the tunnel and dropped five feet. She got dirt in her mouth but she didn't care, the taste was fine, the taste was mud and water and worms and life. Under the earth the air was cool and dark. Above was nothing but blood and roaring red and choking smoke and the screams of dying horses. She moved her belt around so Needle would not be in her way, and began to crawl. A dozen feet down the tunnel she heard the sound, like the roar of some monstrous beast, and a cloud of hot smoke and black dust came billowing up behind her, smelling of hell. Arya held her breath and kissed the mud on the floor of the tunnel and cried. For whom, she could not say. A Clash of Kings - Arya IV

The moment Arya frees Jaqen, she enters hell in the following paragraph. In GRRM-y irony, her attempts to escape hell only lock her into a deal with the devil.
The Fall of Harrenhal as Satanic Bargain
Just some Satan stuff:

• Threefold temptation
• Red Man
• Goat Features (Horns, Hooves, Pointy Beards)
• Fire
• Anti-Jesus

All of which comes through in the Fall of Harrenhal.
Jaqen says he's giving Arya three deaths for The Red God

"Three?"
"The Red God has his due, sweet girl, and only death may pay for life. This girl took three that were his. This girl must give three in their places. Speak the names, and a man will do the rest."
A Clash of Kings - Arya VII

The Red God = Satan. A Clash of Kings starts with burning the images of The Trinity The Seven right out of the Church Sept. GRRM is going really hard on the "selling your soul to Satan" imagery in ACOK.
Like Stannis, Arya has good intentions in dealing with Jaqen. Good intentions which are manipulated by acolytes of this red god of hellfire.
Arya sells Harrenhal and her own servitude to a Red Man and a Goat Man.

The lord waved a hand. "Make her presentable," he said to no one in particular, "and make certain she knows how to pour wine without spilling it." Turning away, he lifted a hand and said, "Lord Hoat, see to those banners above the gatehouse."
Four Brave Companions climbed to the ramparts and hauled down the lion of Lannister and Ser Amory's own black manticore. In their place they raised the flayed man of the Dreadfort and the direwolf of Stark. And that evening, a page named Nan poured wine for Roose Bolton and Vargo Hoat

Roose = Red Man

"There's a badge. A little man, all red." "The flayed man of the Dreadfort,"

Vargo = Goat Man

Arya did not know who Bloody Mummers were until a fortnight later, when the queerest company of men she'd ever seen arrived at Harrenhal. Beneath the standard of a black goat with bloody horns ... [Long description of the Bloody Mummers]
At their head was a man stick-thin and very tall, with a drawn emaciated face made even longer by the ropy black beard that grew from his pointed chin nearly to his waist. The helm that hung from his saddle horn was black steel, fashioned in the shape of a goat's head. About his neck he wore a chain made of linked coins of many different sizes, shapes, and metals, and his horse was one of the strange black-and-white ones.

Note that GRRM gives both Roose and Vargo some Faceless Men-like traits. Roose is introduced to Arya by telling no one to change the girl's appearance and name.
Vargo's chain has coins of strange metals, just as Jaqen initiates Arya to the order with a coin of a strange metal. The variety also reflects the many faces of the god of death, all linked together. And his mount is black-and-white, like the House of Black and White.
Now, does that mean Bolton and Vargo are Faceless Men? Not necessarily. Here it's just enough to note that GRRM has linked the imagery of the Faceless Men to two characters who have classical demon traits.
(But also: Yes. Roose and Vargo are both Faceless Men. Or near enough as makes no difference.)
Summary
Faceless Men come from hell-like underearth places. Whether Jaqen from the black cells or the first FLM in the dragonfire mines. GRRM explicitly uses the language of "demons" and "hell" when writing Arya's FLM initiation in ACOK. She makes a soul-trading deal with a servant red fire deity who burns Churches Septs. At the end of that deal, she has become a servant of a Red Man/Goat Man. Sure sounds like it was a deal with the devil.
Faceless Men = Straight up demons from Hell

THE PIXAR UNIVERSE TIMELINE:
*Good Dinosaur (Prehistoric)
*Brave (1100s)
*Incredibles 1 & 2, Luca (1960s)
*Toy Story 1 & 2 (1995-96)
*Turning Red (2002)
*Finding Nemo, Finding Dory (2003-04)
*Up, Ratatouille, Toy Story 3 (2007)
*Toy Story 4 (2008)
*Coco, Inside Out, Soul (2010s)
*Cars trilogy (2100s - 2800s)
*WALL·E (2800s)
*Onward (4000s)
*Monsters University/Inc (4500s)
EXPLANATION:
When the asteroid that was supposed to kill the dinosaurs missed the earth (Good Dinosaur), it created an event that split this universe from the main Disney timeline, creating a new timeline. Humans and dinosaurs coexisted for some time until changing climate took them out. Magic was prevalent in these universes, used for different purposes. That magic was used for sorcery, transformations, the afterlife, and could bring toys to life through the consciousness of the child/person using it. In the 1960s, magic and government intervention was able to help create super-humans. After some time, superhumans stopped being created and the genes died out. Many decades later, the humans left Earth due to the increased pollution. During that time , Artificial Intelligence took over the vehicles and tech of the world (Cars) for the next 700 years or so (the cars don’t really have faces, those were added for the cars emotion conveying to audience.). For centuries, the world was run by the cars (even going through their own car-history era). When the supply of gas/energy ran out, so did the tech. The last robot on Earth being WALL-E, who helped bring humanity back to earth in the 2800s. But the radiation in the world began to change human and animal life into mutated monsters. They rediscovered magic and used it for some time, but eventually began to evolve out of it. By the year 4500, monsters ran the world and were able to create time traveling doors to use the screams of humans from the past for energy. Years after the events of Monsters’ Inc, Boo tried to use the doors to find Sully. Which sent her back to Medieval Scotland, where she became a witch.
OTHER NOTES:
*Lightyear is an in-universe movie.
*The setting of Bugs Life is unspecified, could be anywhere.
*The setting of Elemental is unspecified too, but it’s about elemental entities, and could take place any time. It could even take place before Good Dinosaur.
*The Cars franchise has a few plot holes with this theory. I know that Pixar likely doesn’t have this theory in mind when making movies. But I still like connecting them.

THE PIXAR UNIVERSE TIMELINE:
*Good Dinosaur (Prehistoric)
*Brave (1100s)
*Incredibles 1 & 2, Luca (1960s)
*Toy Story 1 & 2 (1995-96)
*Turning Red (2002)
*Finding Nemo, Finding Dory (2003-04)
*Up, Ratatouille, Toy Story 3 (2007)
*Toy Story 4 (2008)
*Coco, Inside Out, Soul (2010s)
*Cars series (2100s - 2800s)
*WALL·E (2800s)
*Onward (4000s)
*Monsters University/Inc (4500s)
EXPLANATION:
When the asteroid that was supposed to kill the dinosaurs missed the earth (Good Dinosaur), it created an event that split this universe from the main Disney timeline, creating a new timeline. Humans and dinosaurs coexisted for some time until changing climate took them out. Magic was prevalent in these universes, used for different purposes. That magic was used for sorcery, transformations, the afterlife, and could bring toys to life through the consciousness of the child/person using it. In the 1960s, magic and government intervention was able to help create super-humans. After some time, superhumans stopped being created and the genes died out. Many decades later, the humans left Earth due to the increased pollution. During that time , Artificial Intelligence took over the vehicles and tech of the world (Cars) for the next 700 years or so (the cars don’t really have faces, those were added for the cars emotion conveying to audience.). For centuries, the world was run by the cars (even going through their own car-history era). When the supply of gas/energy ran out, so did the tech. The last robot on Earth being WALL-E, who helped bring humanity back to earth in the 2800s. But the radiation in the world began to change human and animal life into mutated monsters. They rediscovered magic and used it for some time, but eventually began to evolve out of it. By the year 4500, monsters ran the world and were able to create time traveling doors to use the screams of humans from the past for energy. Years after the events of Monsters’ Inc, Boo tried to use the doors to find Sully. Which sent her back to Medieval Scotland, where she became a witch.
OTHER NOTES:
*Lightyear is an in-universe movie.
*The setting of Bugs Life is unspecified, could be anywhere.
*The setting of Elemental is unspecified too, but it’s about elemental entities, and could take place any time. It could even take place before Good Dinosaur.
*The Cars franchise has a few plot holes with this theory. I know that Pixar likely doesn’t have this theory in mind when making movies. But I still like connecting them.

Ok reddit I need your help. I am a 28 y F and I have started horse riding in the past year. I keep the horse at a farm owned and run by a girl I semi knew and went to school with. She is 25, if age matters here. I am just starting out and she’s been very helpful and has given me much more of her time than I pay. I’ve always been very openly appreciative of it. I felt like we have formed a friendship as we are similar ages and see each other weekly and sometimes go for rides together. I am a dentist and decided to pay her back by giving her one of her two surgical wisdom tooth extractions for free. I would have done both for free if I had extracted the teeth but these were tricky ones and I had to have another dentist do them. He needed to be paid so I paid him for it. She seemed very grateful and this was about 2 months ago.
I have known her for coming up a year. She has never followed me back on Instagram but we are friends on Facebook and we usually use messenger to communicate. The last 5 weeks I haven’t been up to the farm as I have been overseas. I noticed today I haven’t seen any of her Instagram stories in a while, I couldn’t find her page, got a weird feeling and had my partner check and turns out she’s blocked me. She also made me unfollow the farm page I follow.
I don’t know what has happened. I feel like I have always been friendly when at the farm. I have anxiety and this is kind of making me spiral. Is it because there was something she didn’t want me to see? Am I that awful of a person to be around? I did say I was interested in a horse at the farm and looks like she’s been training it … is it as shallow as she didn’t want me to have this one? It all sounds really superficial and silly?
Can anyone provide some insight? It would be much appreciated

I am selling my entire personal collection. 95% of these were purchased new by me. Immediately after purchase I put them into the plastic protectors and haven't removed them since. None are heavily damaged (bending, major dents, multiple large scratches, etc.). There may be tiny dents, scratches, and the odd spine slash here and there. When you are ready to purchase I will let you know if I see any noticeable damage, however minor or major.
 
These are all used and opened and none contain the digital code or j-card. The vast majority contain all the original discs but a few might be missing the regular blu-ray. Most discs have never been played but I have watched a few once or twice. No issues while playing any of them.
 
I will ship for free via Media Mail. If you would prefer I ship using First Class or something else we can work out an extra fee. I would prefer to use PayPal F&F but will accept G&S if you insist. I will ship with the plastic protector (or with the slipcover that originally came with the SteelBook) and I will ship securely in a box with lots of bubble wrap (see picture below).
(https://imgur.com/a/tfyky1A)
 
Prices are somewhat firm but it's hard to say what a lot of these are worth so feel free to make an offer. The more you buy the better deal I can give you. 10% off (possibly more) if you buy 2 and it only goes up from there. I would prefer to keep most of the collections together for now but could sell individually for the right price.
 
Proof (https://imgur.com/a/UOAZ2UL). If you want more assurance I have 224 transactions in DigitalCodeSELL (check my post history). I can also link you my eBay page if that is allowed. 3.6K items sold with 100% positive feedback.
 

Metal Tin SteelBook Collections (https://imgur.com/a/tzS3F1q)

Title	Retailer	Price
Mad Max Complete Collection (4K)	Zavvi	$100

 

4K SteelBooks (Collections) (https://imgur.com/a/3J3XUjU)

Title	Retailer	Total SteelBooks	Price
Bad Boys 1-3	Best Buy	2	$45
Back to the Future 1-3	Best Buy	3	$100
Bond 1-5 (Craig)	Best Buy, FNAC	5	$140
Cars 1-2	Best Buy	2	$40
Dark Knight Trilogy	Zavvi	3	$130
DCEU 1-12	Best Buy + Amazon.es + Zavvi	12	$450
Equalizer 1-2	Best Buy	2	$45
Frozen 1-2	Best Buy	2	$75
Godfather 1-3	Best Buy	3	$60
Godzilla + Godzilla vs Kong	Best Buy	2	$60
Halloween (78, 18, 21, 22)	Best Buy	4	$165
The Hitman's Bodyguard 1-2	Best Buy	2	$40
The Hunger Games 1-4	Best Buy	4	$70
The Incredibles	Best Buy	2	$90
Indiana Jones 1-4	Best Buy	4	$55
Jack Reacher 1-2	Best Buy	2	$75
John Wick 1-3	Best Buy	2	$60
Jumanji 1-3	Best Buy	3	$55
Jurassic World 1-6	Best Buy	2	$70
Kingsman 1-3	Best Buy	3	$50
The Lion King (94,19)	Best Buy	2	$50
Maleficent 1-2	Best Buy + Zavvi	2	$45
MCU 1-30	Best Buy	30	$1200
Matrix 1-4	Best Buy	2	$95
Men in Black 1-4	Best Buy	2	$40
Mulan (98, 20)	Best Buy	2	$70
A Quiet Place 1-2	Best Buy	2	$50
Scream (96, 22)	Best Buy	2	$40
The Shining/Doctor Sleep	Best Buy	2	$150
Sonic the Hedgehog 1-2	Best Buy	2	$40
Space Jam 1-2	Best Buy	2	$35
Star Wars 1-9 + Solo & Rogue One	Best Buy + Zavvi + FNAC	11	$500
Terminator (91, 19)	Best Buy	2	$35
Top Gun 1-2	Best Buy	2	$75
Toy Story 1-4	Best Buy	4	$100
Trolls 1-2	Best Buy	2	$35
Venom 1-2	Best Buy	2	$40
Wreck-It-Ralph 1-2	Best Buy	2	$45
Zombieland 1-2	Best Buy	2	$30

 

Mondo X SteelBooks (https://imgur.com/a/76drd4b)

Title	Retailer	Mondo #	Price
Boyhood (HD)	Best Buy Canada	#002	$25
Ghost in the Shell (HD)	Best Buy	#018	$15
It (HD)	Amazon.it	#022	$30
Friday the 13th (HD)	Amazon.it	#023	$25
Batman v Superman: Dawn of Justice (HD)	Amazon.it	#025	$50
Justice League (HD)	Amazon.it	#026	$25
300 (HD)	Amazon.it	#028	$25
Wreck-It-Ralph (HD)	Zavvi	#034	$30
Avengers (4K)	FNAC	#039	$35
Doctor Strange (4K)	Zavvi	#041	$45
Black Panther (4K)	FNAC	#042	$40
Captain America: The First Avenger (4K)	Zavvi	#043	$40
Thor (4K)	Zavvi	#045	$40
Ant-Man (4K)	Zavvi	#047	$40
Blade Runner: 2049 (4K)	FNAC	#049	$100
Captain America: The Winter Soldier (4K)	Zavvi	#050	$40
Thor: The Dark World (4K)	Zavvi	#051	$40
Guardians of the Galaxy Vol. 2 (4K)	Zavvi	#052	$40
Avengers: Age of Ultron (4K)	Zavvi	#053	$40

 

4K SteelBooks (Individual Movies) (https://imgur.com/a/RvIWYiY)

Title	Retailer	Price
Air Force One	Best Buy	$25
Alien Covenant	Best Buy	$20
Almost Famous	Best Buy	$45
Animal House	Best Buy	$25
Apollo 13	Best Buy	$40
Babylon	Best Buy	$30
Beauty and the Beast (1991)	Best Buy	$50
Beetlejuice	Best Buy	$40
Bloodshot	Best Buy	$30
The Blues Brothers	Best Buy	$45
Boyz N the Hood	Best Buy	$60
Brave	Best Buy	$25
A Bug's Life	Best Buy	$45
Bullet Train	Best Buy	$30
Bumblebee	Best Buy	$30
A Clockwork Orange	Best Buy	$30
Cold Pursuit	Zavvi	$50
Coming to America	Best Buy	$15
The Dark Tower	Best Buy	$15
Deadpool 2	Best Buy	$20
District 9	Best Buy	$45
Downton Abbey	Best Buy	$15
Dracula	Best Buy	$25
Edge of Tomorrow	Best Buy	$55
Ex Machina	Zavvi	$40
Frankenstein	Best Buy	$30
Forrest Gump	Best Buy	$40
Gattaca	Best Buy	$25
Ghost in the Shell (1995)	Best Buy	$20
Gladiator	Best Buy	$100
Godzilla (1998)	Best Buy	$25
Goodfellas	Best Buy	$70
The Goonies	Best Buy	$50
Grease	Best Buy	$45
The Green Mile	Best Buy	$30
Heat	Best Buy	$50
Home Alone	Best Buy	$40
Howard the Duck	Best Buy	$35
How the Grinch Stole Christmas (2000)	Best Buy	$80
The Hurt Locker	Best Buy	$30
Inception	Best Buy	$80
Indiana Jones and the Kingdom of the Crystal Skull	Best Buy	$20
Inglorious Basterds	Best Buy	$25
Inside Out	Best Buy	$35
The Invisible Man (1933)	Zavvi	$25
The Invisible Man (2020)	Best Buy	$25
It (2017)	Best Buy	$25
It's a Wonderful Life	Best Buy	$20
Jaws	Best Buy	$35
Joker	Best Buy	$40
Jungle Cruise	Best Buy	$25
Kick-Ass	Best Buy	$35
King Kong (2005)	Best Buy	$30
Knives Out	Best Buy	$50
La La Land	Best Buy	$20
Last Action Hero	Best Buy	$25
The Last Duel	FNAC	$85
Léon: The Professional	Best Buy	$65
Lightyear	Best Buy	$25
The Little Mermaid	Zavvi	$45
Logan	Zavvi	$50
Looper	Zavvi	$45
Luca	Best Buy	$55
Mad Max: Fury Road	Best Buy	$55
Mary Poppins Returns	Best Buy	$20
Mission Impossible: Fallout	Best Buy	$20
Moana	Best Buy	$30
Monster's University	Best Buy	$25
Moonfall	Best Buy	$25
Morbius	Best Buy	$25
Mortal Engines	Zavvi	$20
The New Mutants	Zavvi	$40
Nightmare Alley	Best Buy	$35
Nope	Best Buy	$25
The Northman	Zavvi	$55
The Nutcracker and the Four Realms	Best Buy	$15
Oblivion	Amazon.fr	$75
Ocean's 8	Best Buy	$15
Old	Best Buy	$15
Once Upon a Time in Hollywood	Best Buy	$20
Onward	Best Buy	$60
Parasite	Zavvi	$35
Passengers	Best Buy	$35
Pirates of the Caribbean: Dead Men Tell No Tales	Best Buy	$15
Pokémon Detective Pikachu	Best Buy	$30
Pulp Fiction (Brand New)	Best Buy	$35
The Princess and the Frog	Best Buy	$30
Ratatouille	Best Buy	$70
Raya and the Last Dragon	Best Buy	$50
Rear Window	Best Buy	$35
Red Sparrow	Best Buy	$30
Requiem For a Dream	Best Buy	$40
Reservoir Dogs	Best Buy	$20
Robocop (1987)	Best Buy	$45
Rocketman	Best Buy	$15
Saw (2004)	Best Buy	$30
The Secret Life of Pets 2	Best Buy	$15
The Shape of Water	Best Buy	$55
The Shawshank Redemption	Best Buy	$45
Shrek	Best Buy	$40
Shutter Island	Best Buy	$35
Sing	Best Buy	$20
Skyscraper	Best Buy	$20
Soul	Best Buy	$60
Spartacus	Best Buy	$65
Speed	Best Buy	$60
Spies in Disguise	Best Buy	$20
The Spine of Night	Best Buy	$15
A Star is Born	Best Buy	$40
The Sting	Best Buy	$25
Super 8	Best Buy	$25
Tangled	Best Buy	$65
The Ten Commandments	Best Buy	$25
Tenet	Best Buy	$20
The Thing	Amazon.it	$50
Total Recall	Best Buy	$35
The Town	Best Buy	$70
Turning Red	Best Buy	$20
The Unbearable Weight of Massive Talent	Best Buy	$35
Unbreakable	Best Buy	$40
Uncharted	Best Buy	$25
Unforgiven	Zavvi	$40
Universal Soldier	Best Buy	$20
Us	Best Buy	$20
Vertigo	Best Buy	$35
Wall-E	Best Buy	$100
West Side Story	Best Buy	$25
Who Framed Roger Rabbit	Zavvi	$40
Willy Wonka and the Chocolate Factory	Amazon.it	$35
The Wizard of Oz	Best Buy	$70
The Wolf Man (1941)	Best Buy	$15
The Wolf of Wall Street	Best Buy	$15
Zootopia	Best Buy	$25

 

Regular Blu-ray SteelBooks (https://imgur.com/a/i8u4gnU)

Title	Retailer	Price
The Breakfast Club	Best Buy	$15
Cinderella	Best Buy	$15
Django Unchained	Best Buy	$15
Ex Machina	Zavvi	$45
Plaines, Trains, and Automobiles	Best Buy	$15

 

TV Show SteelBooks (https://imgur.com/a/CR27Ciu)

Title	Retailer	Price
House of the Dragon S1 (4K)	Best Buy	$35
Westworld S2 (4K)	Best Buy	$55
Westworld S3 (4K)	Best Buy	$55