Hi , I’m really bummed out about this bag. Some sort of oil or something spilled . Any suggestions on how to remove or is this just how it is? I’ll post s pic of the front so you can see why I’m in love w the bag

https://www.famitsu.com/article/202405/5194 (translated by DeepL: there are probably translation errors)

Shadows is the next step forward for Assassin's Creed

Mr. KARL ONNÉE, Producer
--First of all, let me say "Thank you" from us Japanese, as "Assassin's Creed" is finally coming out, which is set in Japan!
KARL: Thank you for coming here today. I have been wanting to do this work for years, so my dream has come true.
--Why did you choose the Azuchi-Momoyama period as the setting for this work?
KARL: I chose it because it is a very rich period in history. It was a time of war and political maneuvering, a time of change from rural to urban areas, and also the birth of art. I also chose it because it was the start of the unification of Japan. It was a pivotal moment for Japan. Together, these elements provided an excellent canvas on which to tell the story.
--What kind of image do you have of the Azuchi-Momoyama period?
KARL: This was a time when the feudal lords of the warring states were fighting for power in the name of unifying the country, but it was also a struggle for control of trade. Portuguese missionaries and merchants came to Japan together. The Portuguese missionaries and merchants came to Japan together, and people who wanted a beautiful country and peace. This is the kind of image we have, but I think there was a mixture of various cultures and people's thoughts. And of course, there were the warring feudal lords. These are great canvases for the story.
--What do you think should be inherited from "Assassin's Creed" and what are the unique aspects of this game?
KARL: When people think of "Assassin's Creed," they think of stealth, but shinobi fantasy is not only a perfect fit for an "Assassin's Creed" game, it also fits the DNA of the "Assassin" brand.
What we wanted to do with "Assassin's Creed Shadows" was to push stealth even further. We started this effort with the previous game, "Assassin's Creed Mirage," but we wanted to take it further with new features. Systems such as light and shadow, grappling ropes, belly crawling, and a variety of tools available in the game provide a new experience.
The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles.
The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles.
--The "Assassin's Creed: Valhalla," released in 2020, is based on the theme of "Vikings" and has been a huge sales success. As a Japanese, I feel that from a global perspective, the Japanese "shinobi" theme is even more niche, but what is your current response?
KARL: I would like to talk about how it compares to "Viking" fantasy. Both shinobi and samurai are exciting and celebrated as fantasy with power, and are widely discussed in pop culture, and we are very much inspired by them.
Shinobi were on our radar from the beginning because we thought they fit well with the "Assassins" brand, but we felt that incorporating a powerful samurai would create two different gameplay experiences and give us the opportunity to tell the story from two different perspectives. We feel that this is a powerful motif that can compete with the "Viking" motif.
--How did you like the setting of Japan as a subject matter for the latest model?
KARL: I think it was perfect. For example, the "Global Illumination" technology allowed us to explore the response of light and shadow. Some consoles are still called "Baked GI", but by using dynamic lighting and the power of the new hardware, we were able to explore the creativity.
We are now able to express not only light and shadow, but also the dynamism of nature in greater detail. Naturally, since it is set in Japan, we have never dealt with so many trees, and thus so much data, in previous works in the series. We also needed more data to seamlessly move various things at the same time because of the seasonal changes. The latest models have allowed us to realize our vision, and our ambition for this film and for "Assassin's Creed" will continue.
--Assassin's Creed Mirage marks the 15th anniversary of the game. Can we consider this work as the next step forward for the next generation of "Assassin's Creed"?
KARL: You are absolutely right. Mirage" was a tribute to existing works, but this film is the first step into a new era. We are in the era of modern equipment. With the new generation of our engine "Anvil", plus the opportunity to create a new era by using the power of the latest consoles, we are able to do what we wanted to do with "Assassin's Creed Shadows".
With technologies such as global illumination and dynamism, we are now making the game we really wanted to make.
--What are the four pillars you are focusing on in the development of this game?
KARL: We are focusing on four pillars.

• The first is to create an authentic and dynamic world.
• Second is the story, introducing a new form of storytelling to "Assassin's Creed" by introducing two characters with different stories and perspectives.
• Third, there are two different action sequences. Samurai and Shinobi each have their own training elements and unique weapons. For example, in castles, each has a different positioning that they excel at, which makes a big difference in how they play.
• And finally, there is stealth. We are promoting the importance of stealth more than ever with new systems such as light and shadow, objects in the environment, depression, and grappling ropes.

-- The launch is scheduled for November 15, 2024. What is the current development status?
KARL: Development is going very well. We are proud to say that we have done a good job, but of course it is not finished and there are still glitches. This is the result of all the work we have done so far. We are very happy with how things are going right now, and we hope you will stay tuned for more news.
-- I understand that "Assassin's Creed Infinity" was announced at the previous Ubisoft Forward and that this title will be included in the game? Also, what is the development status of that game at ......?
KARL: "Assassin's Creed Infinity" is introduced as an Animus Hub (*a hub that will function in the future as an entry point for the series), which we will talk about at a later date.
--What is your message to your fans around the world and in Japan?
KARL: We are humbled that our dream of creating a game in this setting has come true. This is a setting that our fans have been anticipating for a long time, and for us it has been a wonderful experience to work on a game that we have always wanted to make.
This game is the result of our love. We hope you enjoy it. We look forward to talking more about it in the coming months.

The Shinobi Assassin and the Legendary Samurai. Experience the different fighting styles created by these two characters.

(left) Mr. JONATHAN DUMONT (Creative Director), (right) Mr. CHARLES BENOIT (Game Director)
--When did you start the development of this work?
JONATHAN: Development began about four years ago, and research into the time period in which the film is set began immediately. There were a number of cool subjects that brought us great characters and story plots. I had a gut feeling that this was going to be a very good game.
--Was the Azuchi-Momoyama period chosen as the period setting from the pre-development stage? Did you have an idea for a major point in Japanese history, such as the end of the Tokugawa Shogunate?
JONATHAN: I started from the beginning of my study of Japanese history, but I began reading with the feeling of a student. Following the Socratic principle, you took the attitude of knowing nothing. As I read on, I found some very interesting settings.
I focused on the Azuchi-Momoyama period because I felt it was an extremely important period for Japan. It was a time of warring states, the need to unify the country, and the need to defend itself against the growing influence of other countries.
It was a grand and complex period, and there are many stories that can be told from different angles. Among the heroes of the unification of Japan, Tokugawa Ieyasu, Toyotomi Hideyoshi, and Oda Nobunaga are best known among the outstanding characters in Japanese history.
Not only war, but also politics are involved, and they are moving toward the peace that will eventually come, with a good ending waiting somewhere in the middle. I strongly felt that this was a wonderful and interesting period that deserved to be featured.
It was also a time when the foundations of the arts were laid. Castle towns were built, the world changed, and people's relationships with each other and with art, as well as their inner lives, also changed. It was very interesting to explore this period, and I was strongly attracted to the characters who lived in this time.
-- Why did you choose the title "Shadows"?
CHARLES: From my point of view, there are two reasons. Shinobi hide in the shadows, so "Shadows" is of course inspired by that. In a way, this embraces the "Assassin" brand and shinobi.
There are other aspects to "Shadows" as well. There are "hidden things" in the game that must be discovered by the player, but they are hidden in the darkness in some way.
JONATHAN: Both characters are in a way connected to being shadowy heroes living in the underworld of this era. It's a cool title, if you can think of it this way.
--Why did you choose two main characters and two fighting styles? Also, what kind of combat action can the Shinobi and Samurai experience respectively?
JONATHAN: One of the reasons for the separation of the two styles is that from the beginning of development, we wanted to have two distinct and cool archetypes to play with: the samurai and the shinobi.
We also wanted to make sure that this fantasy was as close to reality and expectation as possible without being diluted. I also often felt the need to have two points of view in the development of the story, since history is rarely clearly black and white. The two protagonists provided interesting dynamics and perspectives on how to approach the game.
CHARLES: I think it is very interesting that in combat, both the samurai and the shinobi have special types of weapons. Therefore, the style of combat in this work is built on a more weapon-based approach.
There are weapons that only Samurai can use, and the same goes for Shinobi. The player can get a good feel for the two different fighting styles. And it is possible to switch between them.
--What weapons can Naoe and Yasuke use?
CHARLES: Both players have different types of weapons. For Naoe, we went for a more classic fantasy type shinobi. The chain scythe is a weapon that covers a wide area and can only be used by Naoe.
In addition, she also has a dagger used at close range, which can be combined with a hidden blade (Hidden Blade). Naoe can fight very quickly and efficiently with these.
On the other hand, Yasuke, who excels at overpowering with force, is given more types of weapons, some of which are firearms type weapons. They also have the typical samurai bow.
--Why did you choose to make the shinobi Naoe an original character and the samurai Yasuke a historical figure?
JONATHAN Even though they are well known in Japan, at least in North America, not much is known about farmers, what happened to them, and where the Shinobi came from.
So we decided to introduce a figure from Iga who is shrouded in mystery. We considered historical figures from the region, but we preferred a sense of mystery, so we came up with Naoe as someone who may or may not have actually existed.
As for Yasuke, from the beginning we thought that a story about the arrival of the Portuguese would be a very good way to tell the story of the crisis in Japan. The team liked the character Yasuke, and we thought we could use him to show the promise of discovering Japan.
We thought that if we started with a samurai already in Japanese society, he would be a very interesting and intriguing character, with concepts that we don't necessarily know. And it would also be interesting to see what happened to him. He starts out as a character who is already rooted in history, and we are curious to find out what happens to him.
I thought they would make a cool team, complementing each other in terms of storytelling, physique, and family background.
--What did you keep in mind when creating the scenario where the two main characters switch? What were some of the challenges?
JONATHAN: I wanted the audience to feel that "both are the main characters," but this was more complicated than it seems. Their stories overlap in places, but I wanted to make sure that as the game progresses, you gradually discover more and more about both characters. They have similar goals and motivations, but they are not 100% the same, which made it complicated and difficult to maintain their individual personalities.
Naturally, the quest can be played by either character. If a quest needs to be started by one character and completed by the other, the settings must accommodate both play styles. Thus, although it can be complicated, there are many opportunities to tell the story from one of the two perspectives.
Having two different points of view is a lot of fun, but there were some complications, such as having to use new technology in the conversation tools. There were some cool things, however. It is interesting that in the conversational scenes, the player decides which of the two protagonists speaks and they ask for different things. This is cool in a way.
CHARLES: Both characters are attacking the castle and at some point the player is asked if they want to continue with Yasuke or Naoe, both are interesting. At various points the player must make these choices.
The stories are independent, so if you want to know more about Naoe's or Yasuke's past, you can play as one character and delve into that character's story.
--Are there areas of action that differ, such as places that only Naoe, a shinobi, is allowed to enter?
JONATHAN: There are areas where both Naoe and Yasuke have different areas of activity. I can't go into details because there are a few surprises, but since Naoe can use a hooked rope, there are places that are almost exclusively accessible to her.
The world is designed to be enjoyed by both characters, and players can switch between the two at will.
Of course, if you want to reach the final point of the world or reach the summit through the ruins, then perhaps Naoe is the better choice. However, if you want to break through the fort head-on alone and open the way, Yasuke seems like a better choice. Of course, you can play with either character.
CHARLES: Each character also has specific actions. Naoe can hook the hooked rope to a specific spot and move like a pendulum, or hook the hook to a high spot and climb the rope to get to where she wants to go faster than Yasuke. However, Yasuke can use a shoulder bash to break down reinforced doors.
Yasuke can also perform parkour very efficiently in a more daring way. What can be felt when Yasuke performs parkour is how the crowd reacts. Because Yasuke is a samurai and exudes dignity as a superior class, the crowd reacts accordingly. Naoe, on the other hand, gives the impression of being more integrated into the world.
--Can you both use the Hidden Blade, Hawk's Eye, and other Assassin abilities?
CHARLES: Without spoiling anything, the traditional skills of the Assassins are mainly for Naoe. However, there is another mechanism called "Kantori" (tentative name) that can be used when you want to find an enemy or target person, and this can be used by both of them.
You can use free aim to look around, but you cannot see through walls. Yasuke can also be killed by stealth, but in a more direct and easier way. Even with stealth, there will be some sound, so it is a "stealth-like" approach.
JONATHAN: Kantori (tentative name) can be used to find many things in your current location. It is a very good guide for a certain area, but it does not take all the fun out of exploration. It is a good guide because you can learn a little more about where you want to go, but you are left with the surprise of discovering something.
-- Is there a skill tree that makes Naoe more combat-oriented or enhances Yasuke's stealth?
CHARLES: Both have skills that are more combat-oriented and stealth-oriented. Also, some equipment has effects such as increased resistance when attacked. We also offer perks that enhance your abilities in combat.
Naoe, enhanced to be more combat-oriented, has an advantage in melee combat compared to Naoe, enhanced to be more stealth-oriented. Both have a range, but cannot go in completely opposite directions. There is some overlap between the two, but we have made sure that the characteristics of each ability are properly felt.
--Please explain the skill system.
JONATHAN: Both characters share XP and level up together, but the rest of the system is a bit similar to that of "Assassin's Creed Odyssey".
XP and character abilities are available, weapons can be crafted to some degree, and various upgrades can be made as the game progresses. Weapons are not stand-alone, but for two, so each weapon has its own unique skill system. Players should not feel any discomfort, but this is a very different part of the game from the past.
CHARLES: There are two things that were very important to us in terms of skills.
First, we have to be very aware of archetypes. In Japan, there are distinct archetypes, such as the armor-clad samurai, the revolting monk, and the bandit, which are quite different. We try to make it clear to the player who is stronger, and we try to make that part of the leveling process as important as possible. Samurai are always stronger than bandits.
Secondly, player skill is added to the mix. The better you are at timing, reading attacks, understanding weapons, etc., the better you will be and the further ahead you will be.
--What is the volume of the map compared to past works? I would also like to know how you decided on the scale of this work.
JONATHAN: The biggest difference is the scale ratio. The mountains are not the actual size, but we wanted them to be true forests, consisting of trees of a certain size, so that you feel you are in a forest. To achieve this, we needed space.
We also decided to keep it close to a realistic scale, so we could feel the breath of many things. When we visited Japan and saw the castle, we were so glad we made this decision. Japanese castles are huge! Of course, we had seen pictures of castles before and thought they were big and magnificent, but when we saw them in person, they were astonishingly large.
And I wanted more space to explore the castle. Castles were built to be large battlegrounds, you know. You need space to build intricate walls for defense.
The overall scale of the map is similar to the size of the map in Origins. However, the scale ratio makes it feel more realistic. The open space leads to secluded areas throughout the game, which will be fun to explore. This sense of scale is a very interesting aspect of this film for us.
CHARLES: The story led us to choose which locations in Japan we would choose. The major events in Kyoto, around Osaka, and around Azuchi Castle took place in the same area, so we were able to focus on that.
JONATHAN: Of course, we had to choose a size that matched the game, but I think it was the perfect size for this story and type of game.
--Since the game is set in the Warring States period, is there a system that allows players to participate in battles?
JONATHAN: We see several battles in the story, and the battle at Iga is playable. There are other battles as well, but I can't talk about them right now. The game is set in the Warring States period, but it is not only about battles. It is a game that allows you to travel and discover that world.
--What challenges have you faced and what have you been able to achieve as a result?
JONATHAN: By making the big decision to go completely modern and demanding a very high level from the "Anvil" engine, we were able to increase the number of particles, create a more realistic atmosphere, and expand the graphical possibilities of the changing seasons.
This allowed us to work on a fresh new Assassin's Creed. This was a great opportunity for us to take a big leap forward in graphics.
CHARLES: Also, thanks to the new global illumination system, we were able to take advantage of light and shadow, which had a huge impact on the gameplay and stealth approach. For example, enemies became aware of our presence through our shadows, enemies gathered for warmth under a fire in the winter, or shadows through shoji screens depicted enemy presence, giving a new dimension to stealth.

By having two main characters, it is possible to show a wider range of angles and different perspectives.

(left) BROOKE DAVIES, Associate Narrative Director, (right) SACHI SCHMIDT-HORI, Narrative Consultant
--Did you choose the Azuchi-Momoyama period as the period setting from the pre-production stage?
BROOKE: I joined the project after the choice of period had been made, so the Azuchi-Momoyama period had already been chosen. This period offered so many wonderful opportunities from a narrative perspective. The complexity and duality of the period is well reflected in the characters of Naoe and Yasuke.
--What were you aware of and what were the challenges in creating a scenario where the two main characters switch?
BROOKE: From a storytelling perspective, I see it more as a wonderful opportunity than a challenge. When I write a story, I try to show rather than tell, and having two characters allows me to show what's going on from a wider range of angles and different perspectives. I hope this will encourage players to want to share their feelings with them.
--What do you think are the most important points in bringing original characters and historical figures into the game?
BROOKE: Both offer different and unique opportunities. With regard to Yasuke, I found him very interesting historically because we know some things about him, but there are many unknowns. So we needed to fill in the blanks in the story. It is important to note that Yasuke is a historical figure.
And in the case of Naoe, an original character, we were able to draw the story freely to some extent. The fact that she is a member of the Fujibayashi family and that her father is Masayasu Fujibayashi Nagato Mamoru allowed us to place her firmly within the setting. Because Yasuke is a real person but appears as a foreign-born samurai, the Japanese-born Naoe is on equal footing with Yasuke, although she has a different perspective.
--Will other historical figures appear besides Nobunaga Oda and Yasuke?
BROOKE: You will meet Luis Frois (a Jesuit missionary) at the meeting in Azuchi Castle. Also, Nene and Oichi will appear. The Japanese art renaissance that began in the Azuchi-Momoyama period blossomed in the Edo period, and you will also meet Sen no Rikyu, Kano Eitoku, and other important figures.
--Please tell us what year the story will be depicted.
BROOKE: I can't tell you what players will see, but I think it covers a part of the Azuchi-Momoyama period, from 1579 to 1584.
--I think the appeal of the series is to depict the struggle between the Assassin Order and the Templars while taking into account the history, but I would like to ask if there were any difficulties in putting the Azuchi-Momoyama period into it.
BROOKE: I don't want to mention the Knights Templar because I don't want to spoil anything, but the fascination and dynamics of this period are very interesting and provided wonderful opportunities for storytelling.
--How did you go about creating a world with a realistic feel of the Azuchi-Momoyama period?
BROOKE: We were very lucky to work with the Environment Team. The visuals they created for the game provided a great backdrop for the story.
The in-world experience added so much to the story. What we see from the stories and characters of this time period is complexity. I also believe that many of the people surrounding the World had their own struggles.
It was a very difficult time historically, and we see duality. Nothing is ever clear-cut and black and white. In warfare, two groups face each other and are confronted with different perspectives. But in the midst of it all, there are glimpses of hope for the future as we know it, which will later blossom.
--What advice did you actually give?
HORI: One scene that left a strong impression on me was the scene where Nobunaga's sister, Oichi, remarries Katsuie Shibata. In the original story we received, it was thought that the two families decided on their own without regard to Oichi's intentions, and Katsuie was portrayed negatively because he was more than 20 years older than Oichi.
So I spoke with BROOKE and the team and asked them to change it. Oichi had young children after the death of her husband Nagamasa Asai, so if her remarriage was to Katsuie, a trusted man who had served Nobunaga, she would have married him as a matter of course. When I explained that it was better to portray it in a positive light, it was a new discovery for the BROOKEs, and they were very moved by it. The rewritten version of the episode was very moving.
The other scene is the tea ceremony scene featuring Sen no Rikyu. Chanoyu is widely known to be translated as tea ceremony, but experts say it is a mistranslation. After researching the misunderstanding over here, I advised them, as far as I could understand, not to use a teapot or tea leaves, for example.
--Even we Japanese have a strong image of "ninja" as a fantasy. Did you encounter any difficulties with the theme of "ninja" in order to achieve a high level of fidelity to the historical reconstruction?
HORI: Ninja are certainly a fantasy, so I think it's a good thing that we can express ourselves creatively and without reservation. However, there are also dedicated ninja fans and communities around the world, and I am not sure to what extent they see the ninja as a real existence, or as an entity that existed in history.
Therefore, the extent to which ninja are represented in the game depends on the level of tolerance of the avid shinobi fans. I discussed this with the members of the development team. We did not have a specific policy on how much to express, but made decisions on a case-by-case basis. We decided on a case-by-case basis. We would say, "This is an acceptable creative expression," or "This is stereotypical", so let's not do that.
--I'm sure there are many references, but which one left a particularly strong impression on you?
BROOKE: The first book I looked through was "Nobunaga no Kouki" by Ota Ushiichi (Azuchi-Momoyama period, military commander and military history author). I was impressed by his personal observations as he recounts the details. We can learn a lot of historical facts from reading history books, but this author incorporated his own views so that I felt I could understand even his character and what it was like to live in that era, and I was completely drawn in. I was thrilled to be able to portray this time period and the people in this book.
--The drama "Shogun" which is set in a similar time period, has been a hit, and I hope that this work will attract the same kind of attention from game fans. I understand that you have prepared a "Discovery Tour" that allows visitors to freely walk around the game world with historical explanations.
BROOKE: I can't answer about the Discovery Tour today, but I am glad to see that interest in the setting and time period of the game is growing. I look forward to the day when we can bring this film to you.

Gathering a lot of information to recreate 16th century Japan and build a living world

(left) THIERRY DANSEREAU, Art Director, (right) STÉPHANIE-ANNE RUATTA, Historical Supervisor and World Director
--Please tell us what kind of materials you used as references to describe the field and the characters' costumes in the Azuchi-Momoyama period.
THIERRY: I have been working with experts and consultants for a long time, but for the characters, I referred to museum exhibits and books for their appearances and costumes. I visited several museums, did my research, and checked the materials with STÉPHANIE-ANNE.
Based on these, we created the characters. We also referred to descriptions in the books about the colors and the flags people carried. We used multiple sources, but we have checked them for historical accuracy.
STÉPHANIE-ANNE: For several years we had the help of experts, but we also did research with a Japanese studio and team. We used different kinds of sources to make sure the team got it right and had all the information they needed to reconstruct what Japan looked like in the 16th century.
We used museum databases, as THIERRY mentioned, but we also used inscriptions, scientific books, articles, and medieval depositions. For example, the Principles of Nobunaga has been translated into English, so we used that as a reference to describe 16th century Japan. I also referred to the documents of Luis Frois from the same period, which compare European and Japanese society.
--This period was also a time when there was a large influx of immigrants. Will you also depict the episodes, lifestyles, and culture of these people (missionaries, merchants, etc.) as well as Yasuke?
STÉPHANIE-ANNE: Yes, it is important to introduce the presence of Portuguese missionaries and merchants in the 16th century. They influenced the course of warfare during this period and the changing power of certain merchants in Japan.
--I am wondering what castles, shrines and temples that symbolize the Azuchi-Momoyama period will appear in the game. Although the game is set in the Kansai region, is the Osaka Castle built by Toyotomi Hideyoshi ......?
STÉPHANIE-ANNE: The era is represented by the construction of various castles and castle towns, so players will discover a wide variety of castle types and castles destroyed in battle. The Azuchi Castle, which is related to the name of the era, will also be featured.
THIERRY: Himeji Castle, Osaka Castle, and Takeda Castle are also available, and it is wonderful that players can visit and play in these castles. I think this is one of the strengths of the franchise, but all of the castles are based on actual historical blueprints, which I think is very unique, both as an experience and a learning opportunity.
The Koyasan Okunoin Cemetery is the oldest graveyard in Japan, which can also be seen in the game. There are too many to mention them all, but thanks to STÉPHANIE-ANNE and the experts, I think they are well described and it is wonderful that players will be able to travel to these places.
--The architectural style and decoration of the buildings is a different culture from the previous works in the series. What were you conscious of in recreating the culture and what were the challenges? I am also interested in the possibility of diving on the "Shachihoko".
STÉPHANIE-ANNE: The building team did a lot of research, and then we checked the results with experts and asked them to add the elements needed to build a great castle. We did research to recreate the decorations of not only the castle, but also the temples and shrines, and also to find out what materials were used to make them.
THIERRY: The colors also change over time, so we made adjustments to that as well. Of course, this is "Assassin's Creed," so you can climb anywhere and jump from almost anywhere. Exploring is fun.
--Japanese period games tend to be rather subdued, but were there any barriers to making it a worldwide production?
STÉPHANIE-ANNE: It's a game based on history, and we want players to have the opportunity to play with history. This period is so fascinating and celebrated, and has had such an impact on pop culture, that we were fortunate to have the help of renowned experts to make sure we had all the information we needed to faithfully recreate medieval Japan in the 16th century.
We maintained historical fidelity in this film because it was a rich period with so much to talk about and we didn't feel the need to change it. It is a rich setting, so there is an experience that goes into fantasy, but keeping it authentic was our primary goal.
--In the main storyline, can we experience famous episodes from the Azuchi-Momoyama period (such as the Battle of Nagashino, the Honnoji Incident, the Battle of Komaki and Nagakute, etc.)?
STÉPHANIE-ANNE: You will have to wait a little longer for that.
--In the recent series, "Origins," "Odyssey," and "Valhalla," you can enjoy the connection to mythology and fantasy elements based on mythological themes. Will this work also contain elements based on Japanese mythology, yokai, and other fictional creatures?
STÉPHANIE-ANNE: That is a very good question, but I will answer this one later.
--This work also reproduces the four seasons of Japan. Which season did you start first? And which seasons were particularly difficult to express?
THIERRY: I started with spring. We all know about cherry blossoms, and I think they are the most symbolic Japanese element for foreigners. And the big difference is winter. I wouldn't say that winter is more complicated because it has many different expressions, but it was very different from spring, summer, and fall, and the challenges were also different.
--What was particular about the representation of water, such as waterfalls, rivers, lakes, etc.?
THIERRY: All of the water topics were very important to us. We knew that there is a Shinto belief in waterfalls and rivers, and that they are important places in the Japanese eco-system. Even the blueprints of the suburbs are lined with irrigation canals, and they even go into the houses. Thus, we knew that water is a key component of Japanese culture, especially for agriculture.
This is why we installed drains everywhere in this work. The presence of water in the Japanese landscape was different, so we took it seriously and treated it as an inviolable part of the Japanese landscape and way of life.
--What are some of your favorite places, castles, or cultures that appear in your work?
STÉPHANIE-ANNE: That's difficult.
THIERRY: My favorite is Takeda Castle. It is on top of a high mountain and is called the castle in the sky, and I like this location. I can't say it's fair because we built it ourselves, but there are many other great places to visit.
It was a lot of work to create the forest, but I really enjoy looking at the landscape. I also like how all the ecosystems interact with each other, such as the clouds in the weather system. It's not a location, but I enjoy it because it encompasses the whole game.
STÉPHANIE-ANNE: I was impressed by the "Rakuchu Rakugaizu," Japanese folding screens from this period. I was fascinated by the fact that just by looking at them, one could come into contact with the vivid world of this period.
The artistic touch is something special. I have never seen anything so full of art. I truly admire the artists of this era.
THIERRY: I also think the most striking thing for me was the harmony of nature and architecture. I visited the site and found many places, and I could see how everything was deliberately composed.
I was told that trees were planted while the chedi was being built at the time, but everything looked perfect. Also, the culture loves the age and values it, so they cherish moss and things that have taken root there. Japan has maintained these places so they still exist and are still in use.
I realized that we are dealing with a subject that has a long history. It is also a culture that values space, living space. These were the most exciting discoveries during my travels in Japan.

In Halloween 6: The Curse of Michael Myers (Producers Cut Ending) -> After Michael is stopped by Tommy Doyle, Loomis orders Tommy and Kara to leave as far away from Haddonfield as they can. He then returns back into Smith’s Grove Sanitarium and see that Michael is laying on the floor now and takes off his mask only to see that it’s not Michael, but instead it’s Dr. Wynn who now passes on the cult symbol over to Dr. Loomis making him the new cursed cult leader. This causes Loomis to scream in despair (similar to how he did at the end of Halloween 4: The Return of Michael Myers) as we see Michael walks away into the night (similar to ending of Halloween 1978).
In Halloween Ends (Novel/Alternate Ending) -> After Laurie slits Michael’s throat on her kitchen island, Michael begins to strangle her and as they look into each other’s eyes, Michael infects Laurie and she begins to surrender to that feeling. Allyson doesn’t make it to save Laurie this time, but instead Frank arrives first and tries to speak with Laurie, but she seems different like she’s emotionally cut off. She takes Michael’s corpse to the crematorium and watches him burn. The next day, Laurie completes her memoir, but she erases everything that she typed and that’s when Allyson returns home to talk to her. As her and Allyson are talking at the table, Laurie then throws her teacup at the wall and begins to strangle Allyson before getting control of herself and immediately screams and orders Allyson to get out. Allyson leaves Haddonfield, Frank arrives at the door but Laurie doesn’t come outside nor does she let him in. She closes her door and locks herself away from the world (like how she was in Halloween (2018)) and looks into the camera. Next, all you can hear is her breathing as it shows different shots of the house (similar to the ending of Halloween 1978 when Michael was breathing).
Honestly, these two endings (IN MY OPINION) are horrible wrap ups to these characters and I’m glad that they aren’t canon. It’s sad that Donald Pleasance passed away and wasn’t alive to film just one more film to positively wrap-up Dr. Loomis’s story for himself. People can hate on the recent trilogy all they want, but I love and appreciate how well they utilized Dr. Loomis. He was mentioned and we heard recordings of him in Halloween (2018) and we even got to see flashbacks of him in Halloween Kills. Granted he isn’t mentioned at all in Ends, but that’s mostly because Ends wasn’t really about Michael anymore. Haddonfield was 4 years into their recovery after Michael’s massacre and Corey was their new antagonist and their new “boogeyman”. Laurie Strode was the perfect successor to Dr. Loomis.
Returns/2018 -> Their attitudes mirrors one another and they’re both considered insane and crazy by everybody. They want nothing more than to see Michael dead and is prepared to kill him no matter what.
Revenge/Kills -> Laurie may not have been as unhinged as Loomis, but she has her moments especially when she finds out that Michael was alive. She aggressively injects herself with a needle after freshly getting out of surgery less than hour or so ago and immediately attempts to go after Michael. BOTH of these characters wanting to continue their mission to kill Michael while being in horrible positions BOTH physically and mentally. As their films closes out, both of them suffers something extremely traumatic. Laurie’s daughter is killed by Michael. And Loomis suffers a horrifying stroke after trying to beat Michael to death.
Curse/Ends -> After Michael’s disappearance for YEARS in both timelines, Loomis and Laurie liberate themselves from their rage and obsession with Michael and attempts to move on with their lives and doing so in a more healthier and therapeutic manner which is writing a book/memoir. However, when evil arrives back into their lives, they both take a more calmer approach to it as oppose to how they did previously.
I may get a lot of flak for saying this, but I believe that Halloween Ends ending was not only the perfect ending for Laurie, but also the perfect ending for Dr. Loomis seeing as how as Loomis was first discussing Michael’s nature he was saying how he was nothing but pure evil, and Laurie’s final quote about Michael’s nature was how his evil infected Corey, thus showing that evil takes different shapes. 🎃🔪

"The Neon District"
https://preview.redd.it/h6j5xnthef1d1.jpg?width=1792&format=pjpg&auto=webp&s=2dac28553adfcd5e9a5762f45cecd76ca2071491
I was inspired after reading another user's experience creating his own world, so I decided to give it a shot. I wanted to create a sort of interactive choose-your-own-adventure cyberpunk story set in 2124 Los Angeles. I prompted ChatGPT to essentially create a story and world that revolves around common themes within a typical CyberPunk setting such as rampant crime, corrupt cops and politicians, massive drug usage, mega-corporations out of control, poverty, and technology blurring the lines between humanity.
One of my favorite video games lately of all time is CyberPunk 2077, so I just wanted to create something similar that I could experience and live through in a different interactive way while also testing out ChatGPT out of boredom. Here are some of the results from the simulation.
I'll denote "USER INPUT" as anything I wrote or input, and "CHAT GPT" anytime it outputs anything.
Rules: I will use minimal intervention / altering and mainly allow the program to pretty much lead me through the story barring any world-breaking narratives or plots:

• CHATGPT:

Setting: Los Angeles, 2124

General Environment

• Skyline: The skyline is dominated by towering skyscrapers, neon signs, and massive holographic advertisements. The upper levels house the wealthy elite and powerful corporations, while the lower levels are grimy, chaotic, and densely populated.
• Streets: The streets are teeming with life at all hours. Neon lights and electronic billboards illuminate the darkness, casting a perpetual artificial glow. The air is thick with pollution, making clean air a luxury.
• Architecture: Buildings are a mix of high-tech designs with futuristic materials and dilapidated structures. Graffiti covers many walls, and it's not uncommon to see makeshift shelters and slums in the shadow of corporate headquarters.
• Technology: Advanced technology is integrated into everyday life. People have cybernetic enhancements, AI assistants, and immersive virtual reality systems. However, the gap between those who can afford cutting-edge tech and those who can't is vast.

Society

• Crime and Law Enforcement: Crime is rampant. Gang wars and turf battles are common. The police are corrupt, often working for the highest bidder, whether it's a corporation or a crime syndicate. Justice is a commodity, and the wealthy can buy their way out of trouble.
• Economy: The economy is dominated by a few mega-corporations that control everything from food and water to security and healthcare. Small businesses struggle to survive. Basic necessities are expensive, and clean water is a luxury.
• Culture: The culture is a blend of hedonism and despair. Nightclubs, brothels, and underground fight clubs offer temporary escape from harsh realities. Art and music are heavily influenced by the cyberpunk aesthetic, with neon colors, dark themes, and digital elements.

Key Locations

• The Underground: A labyrinth of tunnels, abandoned subway stations, and hidden passages used by criminals, hackers, and those avoiding the authorities. This is where Zoe feels most at home.
• Corporate Towers: Massive skyscrapers where powerful corporations operate. They are heavily guarded, both physically and digitally, but hold valuable data and resources for skilled netrunners like Zoe.
• Black Markets: Hidden marketplaces where anything can be bought or sold, from illegal tech and drugs to human organs and stolen data. Zoe frequents these markets to find jobs and acquire tools for her hacks.

Main Character: Zoe

Background

• Early Life: Zoe grew up on the streets, learning to fend for herself from a young age. She quickly became skilled at navigating the dangerous urban environment and developed a talent for hacking and stealth.
• Skills and Abilities: Zoe is a netrunner, capable of hacking into secure systems using her neural augmentations. She is also proficient with small arms and knives, and excels in stealth, disguise, acting, and manipulation.
• Personality: Zoe is resourceful, intelligent, and determined. She has a sharp wit and a knack for thinking on her feet. While she can be cynical and distrusting, she also has a strong sense of loyalty to those she cares about.

Appearance

• Height and Build: Zoe stands at 5'6" with a slim, athletic build. Her frame allows her to move quickly and silently.
• Features: She has sharp features, piercing eyes, and a distinctive look that she can easily alter with makeup and disguises. Her hair is usually styled in a practical yet edgy way, fitting the cyberpunk aesthetic.
• Augmentations: Zoe has several cybernetic enhancements, including neural implants for hacking, enhanced vision, and a subdermal interface for interacting with digital systems.

Plot Elements

Conflict

• Corporate Rivalries: The mega-corporations are constantly vying for power, using any means necessary to sabotage their rivals. Zoe often finds herself caught in the crossfire, hired by one corporation to hack another.
• Underground Power Struggles: Crime syndicates and gangs are in a constant state of flux, battling for control of territory and resources. Zoe's connections to these groups provide her with both opportunities and dangers.
• Personal Stakes: Zoe's ultimate goal is to uncover the truth behind her parents' mysterious deaths, which she believes were orchestrated by one of the powerful corporations. This quest drives many of her actions and decisions.

Themes

• Humanity vs. Technology: The story explores the tension between human identity and technological augmentation. Zoe struggles with maintaining her humanity as she becomes more reliant on her cybernetic enhancements.
• Survival and Loyalty: In a world where trust is scarce and betrayal is common, Zoe must navigate complex relationships and alliances. Her loyalty to her friends and allies is both a strength and a vulnerability.
• Power and Corruption: The pervasive corruption in both the corporate and criminal worlds serves as a backdrop for Zoe's journey. She constantly grapples with the moral complexities of her actions and their consequences.

USER INPUT
Lets create some additional characters to the story and more world building, starting with her childhood best friend. He's trustworthy, loveable character type. Strong, loyal to a fault, pure, but also an amazing fighter and can be mean to those that do him or his family wrong as quick as any common thug on the streets. What should his name be?
CHATGPT
Let's name Zoe's childhood best friend Lucas. Here's a detailed character profile and additional world-building elements:

Character Profile: Lucas

Name: Lucas "Luc" Raines

Background:

• Age: 20
• Height: 6'2"
• Build: Muscular and athletic
• Appearance: Lucas has short, dark hair and piercing blue eyes. His face is usually adorned with a friendly smile, but he can turn fierce in an instant when provoked. He has several tattoos, each symbolizing different aspects of his life and struggles.
• Personality: Lucas is trustworthy and lovable, known for his unwavering loyalty and pure heart. Despite the harsh realities of their world, he maintains a strong moral compass. He's always ready to stand up for his friends and protect those he cares about, even if it means getting his hands dirty.

Skills and Abilities:

• Combat: Lucas is an exceptional fighter, trained in various martial arts and street fighting techniques. His strength and combat skills make him a formidable opponent.
• Loyalty: His loyalty to Zoe and their close-knit group of friends is unshakeable. He would go to great lengths to ensure their safety and well-being.
• Strategic Thinking: While Lucas may come across as a brawler, he's also a strategic thinker, able to plan and execute complex operations when needed.

Relationships:

• Zoe: Lucas and Zoe have been best friends since childhood. They share a deep bond, built on years of mutual trust and shared experiences. Lucas is fiercely protective of Zoe and often acts as her guardian in dangerous situations.
• Family: Lucas has a younger sister whom he cares for deeply. His parents were victims of corporate exploitation, fueling his disdain for the mega-corporations that dominate their world.

Additional World-Building Elements:

Key Factions:

1. The Vanguard Syndicate:
   • Overview: A powerful crime syndicate that controls much of the underground economy in Los Angeles. They deal in everything from illegal augmentations to black-market goods.
   • Leader: Damien "The Viper" Valdez, a ruthless and cunning leader known for his strategic mind and brutal enforcement tactics.
   • Conflict: The Vanguard Syndicate often hires netrunners like Zoe for high-risk hacking jobs, while also clashing with rival gangs and corporations.
2. NeoCore Corporation:
   • Overview: One of the largest and most influential mega-corporations in the city. They specialize in advanced cybernetic enhancements, AI development, and data security.
   • Public Image: NeoCore presents itself as a benevolent entity, promising technological advancements and prosperity. However, beneath the surface, they are involved in unethical experiments and corporate espionage.
   • Objective: They are always seeking to expand their influence and eliminate any threats to their dominance, making them a constant antagonist in the story.

Key Locations:

1. The Neon District:
   • Description: The heart of the city's nightlife, filled with clubs, bars, and entertainment venues. It's a place where people go to forget their troubles, at least for a while.
   • Atmosphere: The district is always buzzing with energy, illuminated by neon lights and holographic advertisements. It's a haven for both thrill-seekers and those looking to make shady deals.
   • Significance: This is where Zoe and her friends often gather, blending in with the crowds and keeping their ears to the ground for potential jobs.
2. The Wastes:
   • Description: The outskirts of the city, where pollution and neglect have turned the landscape into a desolate wasteland. The Wastes are home to the city's poorest residents, who live in makeshift shelters and struggle to survive.
   • Danger: The area is lawless, ruled by scavengers and rogue gangs. It's a place where only the strong or well-armed dare to venture.
   • Connection: Zoe occasionally visits the Wastes to help those in need or to hide from the authorities when necessary.
3. The Vault:
   • Description: An underground bunker and safe haven for netrunners. It's a hidden, secure location equipped with the latest hacking tools and technology.
   • Community: The Vault is a tight-knit community of hackers and tech enthusiasts who share information, resources, and protection.
   • Importance: This is where Zoe refines her skills, plans her heists, and collaborates with other netrunners on large-scale operations.

Plot Hooks and Story Arcs:

1. The Heist:
   • Synopsis: Zoe and Lucas are hired by a mysterious client to infiltrate a NeoCore facility and steal valuable data. The heist requires meticulous planning and flawless execution, with high stakes and unexpected twists.
   • Challenges: They must navigate through tight security, betrayals, and unforeseen dangers. The job tests their skills and loyalty to each other.
2. The Rescue:
   • Synopsis: Lucas's younger sister is kidnapped by a rival gang seeking leverage against him. Zoe and Lucas must track down the kidnappers and rescue her before it's too late.
   • Emotional Stakes: This mission is deeply personal for Lucas, and his rage and determination drive the story forward. Zoe must balance her tactical mind with supporting her friend through this ordeal.
3. The Conspiracy:
   • Synopsis: Zoe uncovers clues about her parents' deaths, leading her to a massive conspiracy involving NeoCore and the Vanguard Syndicate. As she digs deeper, she realizes the scale of corruption and danger she faces.
   • Revelations: The story arc delves into Zoe's past, her parents' secrets, and the true extent of corporate manipulation. It sets the stage for a climactic showdown against the forces that have shaped her life.

These elements add depth to your story, creating a vivid and engaging world for Zoe and her companions.
USER INPUT
Can you generate an image in an anime/cyberpunk style reminiscant of the style of Ghost In The Shell. Generate our main character Zoe
CHAPTGPT
ZOE

• USER INPUT

let's develop more scenes and characters as well. It would be interesting to have a sort of old underground father type figure to both Zoe and Lucas, someone not related to them but someone that took them in to the underground at a young age and taught them everything they know. He looks after them like family, but he is also a criminal type in the underground world so a mix of good to them, but can be evil to others. Feel free to create other interesting characters and scenes / locations / etc as well
CHATGPT

New Character: Marcus "Iron Hand" Kane

Role: Father Figure to Zoe and Lucas
Background:

• Age: 55
• Height: 6'0"
• Build: Stocky and strong, with a presence that commands respect
• Appearance: Marcus has a rugged, weathered face with deep-set eyes that have seen the worst of the city. His hair is a mix of grey and black, often tied back. His most distinctive feature is his cybernetic right arm, known as the "Iron Hand," which is both a powerful weapon and a symbol of his status in the underground.
• Personality: Marcus is a complex character, blending kindness and brutality. To Zoe and Lucas, he is a protective and caring father figure, offering wisdom, guidance, and training. To others, he is a feared criminal, ruthless in his dealings and unwavering in his pursuit of power.
• Skills and Abilities: Marcus is a master tactician, skilled in combat and cyber warfare. His "Iron Hand" cybernetic arm has multiple functionalities, including enhanced strength, weapon capabilities, and hacking tools. He is also a shrewd negotiator and leader.

History:

• Marcus took in Zoe and Lucas when they were just children, recognizing their potential and providing them with a home in the underground. He trained them in survival, hacking, and combat, instilling in them the skills they needed to thrive in the harsh realities of their world.
• He has a dark past, having been involved in numerous criminal activities and power struggles. Despite his ruthless nature, he has a strong sense of loyalty to those he considers family.

Additional Characters:

1. Lila "Viper" Santos

• Role: Underground Information Broker
• Age: 28
• Appearance: Lila is a striking figure with sharp, green eyes and sleek black hair. She has a slender build and often dresses in stylish, high-tech attire. Her cybernetic enhancements include a neural interface that allows her to access and process vast amounts of information quickly.
• Personality: Lila is cunning, resourceful, and always a step ahead. She has a network of informants and is known for her ability to find out anything about anyone. Despite her aloof demeanor, she has a soft spot for Zoe and Lucas, often providing them with critical information.
• Skills: Expert in data retrieval, espionage, and manipulation. Her cybernetic enhancements give her an edge in accessing secure networks and uncovering secrets.

2. Riko "Ghost" Tanaka

• Role: Elite Netrunner and Rival
• Age: 22
• Appearance: Riko is an enigmatic figure with short, spiky white hair and cybernetic eyes that glow faintly blue. He has a lean, agile build and is known for his stealth and speed.
• Personality: Riko is a lone wolf, fiercely independent and highly competitive. He respects Zoe's skills but also sees her as a rival. He is driven by a desire to be the best netrunner in the city.
• Skills: Master hacker with advanced cybernetic enhancements that allow him to move through digital networks undetected. He is also skilled in parkour and close-quarters combat.

New Locations:

1. The Hub

• Description: The Hub is a massive underground complex that serves as the central meeting place for the city's netrunners and tech enthusiasts. It's filled with advanced tech, servers, and hacking terminals. The atmosphere is a blend of chaos and order, with people constantly exchanging information and working on new projects.
• Significance: This is where Zoe and Lucas often go to gather information, meet contacts, and plan their operations. The Hub is also a place of relative safety, where violence is strictly forbidden.

2. The Sprawl

• Description: A sprawling slum area on the outskirts of the city, characterized by makeshift shelters, narrow alleys, and rampant poverty. Despite its dire conditions, the Sprawl is a vibrant community where people band together to survive.
• Atmosphere: The Sprawl is always bustling with activity, from street vendors selling homemade goods to children playing amidst the ruins. It's a place of both danger and resilience, where the inhabitants have learned to adapt to their harsh environment.
• Connection: Zoe often visits the Sprawl to help those in need and to stay connected with her roots. It's also a place where she can move around relatively unnoticed.

3. NeoCore Headquarters

• Description: A towering skyscraper in the heart of the city, NeoCore's headquarters is a symbol of corporate power and technological advancement. The building is sleek and modern, with state-of-the-art security systems and heavily guarded entrances.
• Significance: NeoCore Headquarters is often the target of Zoe's hacking missions, as it houses valuable data and cutting-edge tech. The building's imposing presence is a constant reminder of the corporation's influence over the city.

New Scenes:

1. The Heist

• Setting: NeoCore Headquarters
• Description: Zoe and Lucas undertake a daring heist to steal critical data from NeoCore. The scene is filled with tension as they navigate through tight security, avoid detection, and hack into the corporation's mainframe.
• Key Moments: Zoe uses her hacking skills to disable security systems, while Lucas provides physical protection and deals with any guards they encounter. The heist culminates in a high-stakes escape, with the duo narrowly avoiding capture.

2. The Rescue

• Setting: The Sprawl
• Description: Lucas's younger sister is kidnapped by a rival gang, and Zoe and Lucas must infiltrate the gang's hideout in the Sprawl to rescue her. The scene showcases the gritty, dangerous environment of the slums and the close-quarters combat skills of the protagonists.
• Key Moments: The rescue mission is fraught with challenges, from navigating the labyrinthine alleys of the Sprawl to engaging in fierce hand-to-hand combat with gang members. The scene highlights Lucas's protective nature and Zoe's quick thinking.

3. The Confrontation

• Setting: The Hub
• Description: Tensions rise as Riko "Ghost" Tanaka confronts Zoe, accusing her of stealing a job from him. The scene is set in the bustling environment of the Hub, with onlookers gathering to watch the showdown.
• Key Moments: The confrontation escalates into a heated argument, showcasing the rivalry between Zoe and Riko. Despite their differences, the scene hints at a potential alliance in the face of a greater threat.

USER INPUT
can you create images in the same style as the original image for the new Characters Marcus Iron Hand, Lila Viper Santos, and Riko Ghost Tanaka, Lucas, etc? Also generate additional images of some of the new locations etc separately.
CHATGPT
LUCAS
MARCUS \"IRON HAND\"
RIKO \"GHOST\" TANAKA
LILA \"VIPER\" SANTOS
THE HUB
THE SPAWL
NEOCORE HEADQUARTERS
"THE VAULT"
https://preview.redd.it/anol60qpef1d1.jpg?width=1792&format=pjpg&auto=webp&s=fcfb76dc6ac42f816de6148e66d3f3f60f442d64

• USER INPUT

Awesome. Lets start the story now. The story begins with Zoe waking up on a typical Saturday late morning. Friday night was a big night celebrating her childhood friends birthday drinking and partying at their favorite club. She wakes up with a slight hangover and is hungry. she notices several missed calls and messages

• CHATGPT

Scene: Zoe's Apartment - Late Saturday Morning

The dim light filtering through the grime-covered windows of Zoe's apartment barely illuminates the cluttered room. The remnants of last night's celebration are scattered everywhere—empty bottles, discarded clothes, and the faint hum of old electronic music playing in the background. Zoe groans and sits up in bed, rubbing her temples to ease the throbbing in her head.

Narration:

Narrator: Zoe squinted at the holographic display, her vision still slightly blurry. The notifications were a mix of urgent messages and missed calls, each vying for her attention. She quickly scanned through them, her fingers moving with practiced ease over the interface.
Zoe: (mumbling to herself) "Great, just what I need. More problems to deal with..."
She swings her legs over the edge of the bed, stretching and wincing at the persistent hangover. With a sigh, she picks up her cybernetic arm from the nightstand and attaches it, feeling the familiar click as it integrates with her neural network. She taps her wristband, bringing up the missed messages and calls.

Dialogue:

Zoe: (talking to herself) "Let's see... job offers, updates from the underground... and what's this? 'Urgent Opportunity – High Reward.' Sounds promising."
Her stomach growls, reminding her of her hunger. She heads to the small kitchenette, grabbing a protein bar and some instant coffee. As she munches on her makeshift breakfast, she taps the message to read the details.
Zoe: (reading aloud) "High-risk, high-reward job, requiring a skilled netrunner. Substantial payout. Meet at The Hub tonight. Perfect."
Her thoughts are interrupted by a knock at the door. She frowns, not expecting visitors this early. Cautiously, she approaches and peers through the peephole. Recognizing the familiar figure on the other side, she relaxes and opens the door.
Lucas: (with a grin) "Morning, sunshine. You look like hell."
Zoe: (rolling her eyes) "Thanks, Lucas. You’re a real charmer. Come in."
Lucas steps inside, looking as rugged as ever with his scruff and tattoos. He drops a bag on the table and takes a seat.
Lucas: "I brought breakfast. Figured you’d need it after last night."
Zoe: "You’re a lifesaver. So, what’s up?"
Lucas: "Got a tip about a job. Sounds like it could be worth our while. But first, you need to get your head straight. Eat up and let’s talk."
They share a quick meal, discussing the potential job and catching up on recent events in the underground.

Choice Point 1: Zoe's Response to the Job Offer

Option A: Agree immediately and start planning. Option B: Ask for more details and express caution. Option C: Refuse the job and suggest looking for something safer.
Please choose an option by typing "Option A," "Option B," or "Option C."

• USER INPUT

Option B

• CHATGPT

Choice: Option B - Ask for More Details and Express Caution

Zoe: (taking a sip of her coffee) "Hold on, Lucas. Before we jump in headfirst, I need to know more about this job. What exactly are we dealing with here?"
Lucas: (nodding) "Fair enough. It's a high-stakes heist at NeoCore Headquarters. Our client wants us to steal some sensitive data from their secure servers. The payout is massive, but so are the risks. We'll need to get past top-tier security, both physical and digital."
Zoe: (raising an eyebrow) "NeoCore, huh? That place is a fortress. Who's the client?"
Lucas: "No name, just an anonymous contact. But they seem legit. They've provided detailed blueprints and security protocols. Still, I get it if you’re hesitant. This one's big."

Choice Point 2: Zoe's Next Action

Option A: Accept the job but suggest taking extra precautions and planning thoroughly. Option B: Contact Marcus "Iron Hand" Kane for his advice and see if he has any additional information or support. Option C: Investigate the client further to ensure their legitimacy before making a decision.
That's all i have so far but this was a super cool way to pass some time on a Sunday. I am considering starting a parallel story similar to this but a horror-survival one, similar to something like the original Silent Hill etc.
What do you guys think - Anyone interested in seeing how this develops?!