Eventually it reaches Five Pebbles, a massive decaying supercomputer, and meets the AI's robotic avatar. Five Pebbles explains that like all creatures, the slugcat is trapped in a stagnant cycle of death and rebirth and wants it to end. He then directs it to a place where it can free itself from the "great cycle". Following his guidance, the slugcat travels to an underground chasm and enters a sea of "Void Fluid", which helps it ascend.
The iterators decay over time, but since the cycle of rebirth exists, they will live forever and the ancients expected them to eventually find a solution. Five Pebbles rejected this purpose and tried to overwrite a self-destruction taboo with excess intake of water, damaging Looks to the Moon to the point of nonfunctionality.
Prior to creating Rain World, Joar Jakobsson was a graphic designer in Sweden who taught himself how to animate sprites. He had played few games and had little industry experience when development began in 2011. He began with a sketch of an elongated cat, which was named "slugcat" by one of his YouTube viewers, though the character has no official name. Jakobsson had previous interest in derelict environments, and what they reveal about the humans who previously occupied them. Partly inspired by his feelings of foreignness while living as an exchange student in Seoul, South Korea, a core idea in the game's development was to recreate the life of "the rat in Manhattan". This rat understands how to find food, hide, and live in the subway, but does not understand the subway's structuring purpose or why it was built. Jakobsson and his development partner, James Primate, hoped that players would similarly feel as if they were close to making sense of the game's abstraction of an industrial environment without fully understanding. Jakobsson designed Rain World's enemies to live their own lives, in which they hunt for food and struggle to survive, rather than serve as obstacles for the player. Enemy placements are randomly generated, and in final playtests a week prior to release, the developers noted how some players became more or less interested in the game based on the luck of their enemy spawns. The developers expected players to learn to avoid combat and play the game primarily through stealth and flight.
Pinocchio's World would have included Pinocchio (as a human) and Geppetto, as well as the villains, Honest John and Gideon from the original film. The profile sprites for the characters still appear within the final game's code.
Hades and Megara were also planned to appear in Olympus Coliseum, and Tinker Bell was apparently planned to have lines, before she was made mute. These characters' profile sprites also appear within the final game's code.
Early screenshots shows early versions of the character icon in battle. Unused version of the character sprites also appear within the final game's code. Xion's unused sprite shows her with bluer hair than with black hair.
Kingdom Hearts Re:coded was to use talk sprites in the same fashion as Kingdom Hearts 358/2 Days. The idea was scrapped in the final release, but the talk sprites are still available within the game's coding.
The Whirligig (ウィンドミル, Windomiru?, lit. "Windmill") training toy is depicted in the Ultimania, which claims it is a special gift for Streetpassing. A second unused training toy called Fireworks also has a sprite present within the game data.
i'll know what the exact values are for once i find the medal data parser. i've already found the data parser for pkm data, personal data, item data, item sprites, trainer data, zone info, and a fair amount of others, so i'm sure t won't be very difficult to find. they all look/work like this:
In 2003, Nintendo released a Game Boy Advance port of Tales of Phantasia. This version combines various elements from both the original Super Famicom version and the PlayStation remake into one game. The sprites and battle graphics are from the PlayStation remake, but the opening sequence, map and field graphics are directly recycled from the Super Famicom version along with some sprites/animations being completely altered. Graphics are also brightened and oversaturated to compensate for the dark screen of the original Game Boy Advance, which is not backlit. This version of the game is also the basis for the first mobile port, Tales of Phantasia Mobile (テイルズ オブ ファンタジア モバイル, Teiruzu obu Fantajia Mobairu?).
A port for the PlayStation Portable (PSP) called Tales of Phantasia: Full Voice Edition was released in Japan in September 2006, developed by Mineloader Software. This version of the game is largely based upon the PlayStation remake and contains completely redone voice acting, which are now used for most story events. It has also added voice for all plot events, which may be the reason behind the remake's name. The PSP port also includes a grade system, also from later games of the series, and features new battle sprites for the main characters with less exaggerated proportions, closer to those of later games in the series, such as Tales of Eternia. However, enemy sprites from the PSX version are still ported over, including humanoid enemies that still retain the original-exaggerated proportions.
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Inspired by the Sunwell's rebirth, the blood elves have since entered into a shining new era in their ancient race's history. Although some elves remain hesitant to abandon their dependence on arcane magic, others have embraced change for the betterment of Quel'Thalas. Despite the numerous tragedies of their past, the blood elves continue to stand strong and endure, tenaciously striving to restore their beloved nation's past glory.
After the encounter involving Kil'jaeden, it appeared that the Sunwell's powers were exhausted due to Anveena sacrificing herself, banishing Kil'jaeden back to the Twisting Nether; however, Prophet Velen and Lady Liadrin appeared to the scene shortly afterwards. Velen dropped M'uru's small flickering "spark" into the Sunwell and, with that, a huge pillar of light emerged from the Sunwell, at which Velen responded: "In time, the light and hope within,[sic] will rebirth more than this mere fount of power... Mayhap - they will rebirth the soul of a nation."
Inspired by the Sunwell's rebirth, the blood elves have since entered into a shining new era in their ancient race's history. Although some elves remained hesitant to abandon their dependence on arcane magic, others embraced change for the betterment of Quel'Thalas. Yet only time would tell if the blood elves can avoid repeating the tragic mistakes of their past. The blood elves no longer required draining magic to keep in good health, and their crippling addiction is sated once more, if not conquered completely. With the Sunwell's rebirth, the Blood Knights have engaged in a far more harmonious relationship with the Light, which they now channel directly through the Sunwell itself, wielding the Light in a healthy way, instead of dominating it. They have resolved to embrace their new source of power, as they forge for themselves a new identity as they lead their people into a more promising future.
The blood elven crest, seen on many banners, tabards, and buildings in and outside of Quel'Thalas, depicts a phoenix. Metaphorically, this represents the blood elves' "rebirth" from the ashes of their destroyed kingdom and brethren, sundered in the Third War, and as a more formidable people for having done so.
The blood elves use a phoenix as their main motif. The phoenix is found on their banners, their racial crest (the Icon of Blood), weaponry, buildings, tents, and many other sightings. Metaphorically, the nature of the phoenix represents their "rebirth" from the ashes of their sundered brethren, a sentiment also reflected by the blood elves' moniker. Generally, the phoenix is portrayed as gold and emblazoned upon a red background, though it has several alterations and variations:
In Ghana and around West Africa, they tell a tale of the trickster spider Anansi and how he won all the stories of the world from the sky god. To prove his worth, Anansi had to demonstrate that the power of his imagination was greater than the cunning of the snake, the strength of the leopard, a multitude of hornets or a magical sprite.
Join Darragh and Cliodhna as they find surprising parallels between an ancient Indian teaching tale of a monkey and a crocodile, and an old Irish legend of the aughisky water-horse. The Irish seal-wife shares a mystery with a Japanese crane-wife, the Rainbow Crow of Native American legend brings fire while the Irish crow goddess Badb brings prophecy and rebirth, the transformations of Ireland's Étaín and the Amazon rainforest's Chimidyue into giant butterflies both mark rites of passage and, when the threads of Anansi's web have been connected to every corner of the world, it is time to tell the tale of how Anansi himself won the world's stories, and the Irish got their own legends from a salmon older than Noah's flood. 2b1af7f3a8