This Week’s Topics:

• The quest for the TSF holy land
• A story of two grandpas finding love in VR
• Natalie’s dream software
• Price scamming from a billion dollar tech company
• Super Mario Bros. 10 looks wünderbar
• The death a developer with great volition

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Rundown Preamble Ramble:
Let’s Imagine… TSF Mecca

Two weeks ago, translator extraordinaire Chari Shal made a comment in a private Discord server about how I was trying to turn Natalie.TF into the Mecca for TSF content. I immediately claimed I was not trying to do that (because I could not do that) but the idea of a centralized grand hub for TSF content is enticing to me. Or, at the very least, a hub that was home to various essays, articles, and analysis pieces that aimed to approach the genre of transformation from a more regimented manner.

The way I see it, if people want a genre or medium to be respected, dedicated fans need to analyze it on a higher level. They need to write college-level papers, conduct academic research, perform studies, and formalize the informal. They need to write definitions for terms that originated within communities. They need to think about things on a ‘higher than conversational level’ and approach art like a critic from a ‘respected’ publication.

However, you also want to make sure that this information is… easily digestible. So, in addition to that academia crap, you would need to make stuff for the real people. Exhaustively detailed reviews. Long-form video essays— because that is the paper of the internet generation. And you would need accessible writings that go deep into niche concepts, acting as reference points to understand something birthed within a community. You would need to dig through concepts previously only found within forums drenched in shorthand and lost context and make them into something more accessible.

To me, that is the core of what a TSF Mecca would provide. Reference points and analysis of TSF in a comprehensive yet digestible format. With more long-form, long-winded, and academic writing cited and referenced. It would not be a news site as much as it would be an online journal that posts a new article whenever the writers have something good enough to share.

Naturally, there would be a section for community contributions, with particularly poignant contributions promoted on the ‘main page’. And if things are getting too abstract, the thing I’m ultimately imagining is basically a more formalized and better version of the analyses I’ve discussed earlier this year. Namely the TSF Critiques, TSF Playlist, and body swap fetish sections from Q1 Rundowns and everything I tried to do with Natalie Rambles About TSF.

When I say better, I mean what I wrote should not be published, and should only be accepted as the roughest of rough drafts. Because TSF Mecca needs to have a high level of quality. It needs to be THE place that treats the genre of transformation with respect, dignity, and also LOVE by analyzing it on a level a sky above casual conversation.

…Though, I would also want it to be a bunch of other stuff too!

I would want it to have a dedicated forum to keep the conversation in one place and for writers/contributors to get an easily accessible look at the community in action. A collection of writings, drawings, comics, and any other form of media hand-selected by our staff. The ability for readers to host their own creations on the site to share it with a community of TF enthusiasts. And an archive of decades of TF creations that were either abandoned or that are hosted with the permission of the original creator. Possibly alongside an image archive that’s basically a more expanded version of the Gender Bender Booru started by Espeon of Gender.tf a while back.

Hell, throw in a damn podcast, because while TFTuesdays is pretty good for a niche podcast they mostly focus on furry stuff. Don’t get me wrong, furry stuff is one of the original elements, but it’s not TF Mecca. It’s TSF Mecca. TF Mecca can be the sister site owned by the same parent company.

Now, those are pretty vanilla pie-in-the-sky ideas for a TSF Mecca, and I don’t expect anything like this to ever manifest into reality. However, if someone were ever working on a hub for TSF content, or just a blog that discusses it on a more analytical level, please let me know. Because I would love to contribute and do whatever I can to help people analyze, understand, and help push the genre of TSF to a newer and higher level.

I say contribute, because I am by no means the right person to lead a project like this. I am a creator first, critic second, and an academic fifty-ninth. I lack the patience for a lot of detailed research. I lack the sociability to participate directly in the community. And I work best when I have someone telling me what to do, not when I am telling others what to do.

Also, for as much as I say I want detailed analysis… I would rather spend my time highlighting works that I think are worth noting, or doing my part to contribute to the genre with my own weird bullshit. That last bit does sound pompous, but would you honestly tell me that anybody else would write something as convoluted and TSF filled as The Saga of Dawn and Dusk or half of TSF Series? Because I don’t think so! Nobody else has the brain damage needed to pump out wild shit like the Ghost Milky Trilogy.

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TSF Showcase 2023-23
An Older Guy’s VR First Love by Violence Tomoko

…Speaking of works that are worth noting, let’s talk about a comic Chari recommended to me a while back, but was only given a full and official release late last year. But first, a primer regarding the subject matter.

The concept of VR is one that I am very reclusive of. Partially because I have been burned by technological dead-ends and worry about software that requires non-standardized peripherals. Partially because I feel as if I lack the social ability to participate in VR due to my living conditions. Partially because I’m certain it would make me motion sick. And partially because it does not neatly conform with what I personally like and admire about video games. Which is a… complex concept that I cannot neatly articulate, but ‘immersion’ is not one of them.

In my opinion, the best use case for VR is not something akin to a traditional video game, but rather something closer to VRChat. A way for people to communicate, hang out, and explore a virtual world. A way for people to socialize with and around others in a climate where anyone can be anything, and people can explore anywhere. A digital reality that brings people together in ways impossible in the real world, and allows people from radically different places and walks of life to form powerful bonds. Sure, this is possible without a headset, but head-tracking and a first-person perspective do a lot to make it seem more ‘real’ within one’s brain. It’s something I respect… and a core idea of this manga.

An Older Guy’s VR First Love follows Naoki, the titular ‘older guy’ who spends much of his free time in a VR world, going through isolated environments with the avatar of a teenage girl. In his perusing of these digital realities that will be erased in a few months, he happens across a curious person with an ‘indecent’ avatar named Honami. From this chance encounter, the two quickly form a relationship, with Naoki taking Honami on a tour of a dying VR world before end of service, and the two growing closer through their journeys. Spending nights alone in scenic vistas long abandoned, sharing their true selves and feelings without any filter, and gradually forming a deep friendship that blossoms into something romantic.

That alone is a strong message about how digital worlds like this can bring unlikely people together, and help them form bonds that would otherwise be impossible. But An Older Guy’s VR First Love is far more than just that. If anything, I would say it is one of the most thematically dense and message-filled stories I have seen in a good while. To the point where I almost feel as if it warrants a chapter by chapter breakdown highlighting its morals, symbolism, and the overall beauty of this work. Because there are just so, so many things I downright adore about this story.

The obvious symbolism of venturing to someone to the edge of the universe during the twilight years of their life. The way digital worlds are presented as vast fully featured worlds capable of just as much, if not greater, beauty than the real world, yet, much like human beings, will die. The way the bonds and love of its protagonists transcend into the physical realm as they finally meet. The way the protagonists act in the real world versus the digital world, while still being the same people regardless of the active persona. The eggy as hell justifications the protagonists have for choosing their avatars.

And that’s just the first half of the comic, before getting into all the generational and societal expectation stuff that comes into play when Honami’s grandson, Aoi, is introduced. It sees the protagonists live as friends, as lovers, spending their days together in both worlds, while sharing it with someone else, opening his eyes to what is possible, while figuring it out for themselves. It is the passing of knowledge to another generation, giving them the tools needed to figure out who they are and what they want out of life sooner. And in a world where generational divides are becoming increasingly contested and used to stew division, there is something truly sweet about seeing these three come together.

Then we get to the artwork, which is as beautiful and adorable as the comic’s themes. The character designs and expressions are adorable, the virtual world is presented as something majestic, and the sheer mood evoked by the shading is truly impressive for a black and white comic. However, what I find most compelling about it is how it chooses to render both the digital world and real world.

Initially, it is easy to see a dramatic style shift between how Naoki and his humdrum world look. You are going from an adorable anime school girl in cute clothes to a fat bald old man in a t-shirt and sleep pants. Things are dark, dreary, and exist in dull rooms in the real world, while the virtual world is full of sunshine and natural beauty. But as Naoki ventures out into the real world to meet with Honami, things take on a different hue. The characters’s expressions grow more extreme, more real, as they feel they can be themselves around others, and the world becomes brighter both figuratively and literally. Even after this, the worlds remain distinct, but the contrast between them is nowhere near as intense, because they no longer feel so distant.

It is a truly gorgeous comic that hit hard enough to get me all teary eyed in the end. …But I probably should ask if it is TSF or not, since that might be a contentious classification. It’s part of TSF Showcase, so… naturally my answer is yes, absolutely.

While I define TSF as involving a physical transformation that changes one’s sex on a biological or at least ‘characteristic’ level, I keep the definition open for exceptions. And here, the protagonists are effectively occupying different bodies of their own creation. They are embodying something of a different sex, which in turn changes how they behave, view themselves, and view others. Functionally, it’s barely any different than someone being TG’d when they enter another world.

Now, does that mean VRChat is effectively a TSF, body swap, and TF simulator? Pretty much. It still has quite a way to go before it is even on the level of An Older Guy’s VR First Love, let alone on a level where it can stimulate more than sight and sound. But the foundation is there. And for the folks that do use VR platforms to achieve these things— or primarily live online— I’m sure you’ll find it relatable. I know my friend Cassie did!

“I’ve never related to an old man so much before.”

Cassandra Catherine Wright

Also, support the official release, but comics are a PITA to buy digitally, so once you bought it, find a CBZ and use Manga Reader to convert it into images stored in your temp AppData folder. If you have issues finding it, just install Everything. I just learned about it a few months ago, and it makes Windows Search look like even more of a disgrace.

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The Ultimate TF Visual Novel Should Use 3D Models
(Natalie Muses About a Ren’Py X Koikatsu Super Program)

So, something I was thinking of while going through Eman Looc’s Possession Scroll this past week has been the idea of character sprites, asset creation, and the ‘ultimate TF visual novel.’ Visual novels typically make use of 2D sprites for two simple reasons. It looks good and is relatively cheap to produce. …At least in theory. Drawing a character, clothing, poses, and a series of expressions can be time consuming, expensive, and intensive. Look at the development of re:Dreamer for an example of that.

However, 2D sprites are quite limited. Every expression, outfit, hairstyle, and pose are unique to each character. Every asset might need to be edited and re-exported if a change needs to be made. And if there is a change to a character’s design, such as their eyebrows or breast size… you’re screwed, and need to do a lot of shit work to make things look nicer.

Okay, so what would be a solution to this? Well, using 3D models for characters, of course!

Now, the immediate reaction to this should be to highlight how many new layers of complexity are introduced by 3D asset creation, rigging, and injecting them into a game. But let’s imagine that technology has advanced, and that major hurdle is overcome. That there is a system that basically allows people to create and customize anime style humanoid characters, tweak elements on a model level, and share components like hairstyles, outfits, and expressions across different models.

However, I am less looking at the act of creating models from scratch and… actually screw it. I’ve brought up this idea before, but what I want is basically something that combines the robust character creation of Koikatu’s CharaStudios with the ease of use and power of Ren’Py. If you could mesh these two programs together, teach them how to talk to each other… you could create something of a dream visual novel creation software.

A program where anybody with the skills needed to create a Koikatsu comic, do basic Python programming, and write a story, could make a visual novel, without worrying about asset creation or incorporation. …Beyond backgrounds and music but those are pretty easy to find. Just hit up Minikle on DLSite, oo39.com, SLOS.biz, and other royalty free sites that offer dope shit for cheap.

Furthermore, if this framework were to exist… it would be pretty much ideal for a large scale body swap and transformation story. It would allow poses, animations, and model elements to be recycled among characters, and I should not need to explain how effective that would be in a TF visual novel. That way you could have characters move and express themselves the same way while in another body. You could show them trying to act like they are someone by performing versions of their usual animations that are ever so slightly off. And you could adapt expressions across a wide variety of bodies, so it really looks like characters are acting like each other. Because for as much as I love Press-Switch and Student Transfer… you cannot visually tell who is in which bodies.

Of course, you could also transform and manipulate the model, facilitating basic changes like height, weight, and race alterations. Show a more gradual change without creating another set of modified sprites. And do stuff that takes BuggsB hours and days to properly rig and animate within a relatively shorter amount of time. Sure, 3D rigging seems complicated, but compared to animating every frame of a sprite animation, by hand, and then coding the animation? I don’t want to say it is easier, but… it seems like it would be.

Now, the biggest criticism of this idea would be that some people think 3D visual novels don’t look very good, and prefer the 2D look. This is, or at least was, pretty common in the visual novel fandom, in both Japan and the Anglosphere. But I’m pretty sure that this issue has largely been fixed, as 3D visual novels, and adventure games, have continued to look better and better. We’re a long way away from the ‘scraggly icky no-no faces’ of Ever17 for Xbox 360. And while I do think things like Robotics;Notes DaSH do look a bit stiff, that’s more of a creative choice. A lot of Japanese VNs like to keep things stiff, and 3D models generally don’t look too hot when they look at you with their glassy dead eyes. Instead, I would imagine things being more like the ‘ADV-style’ scenes from Cellular Shift. Or have more natural idle poses a la AI: The Somnium Files.

Now, none of this is meant to diss 2D. 3D might be love, but 2D is life, and 2.5D is hometown. (Once memes go into this jar, they never die.) This is really just me thinking about how I would eventually want to make my own visual novel. Which I am going to force myself to do once I finally get a decent grasp on how to write a novel. Yes, I know I should have learned that after writing seven novels, but some people have a little thing called skill issues, aight?

…Also, I’m super curious if it would be possible to buy voice packs to give characters voices and integrate them on an engine level. I have accidentally pressed V enough on Ren’Py games enough times that I know that feature is present… But I have a soft spot for text-to-speech, and believe that if you write like someone speaking strong enough, you can make robots sound like they’s people. What about AI voices? Dunno. Ask me in 2027.

…Assuming the willy pete boys stay down with their dicks in the dirt— where they belong! Because if they get carte blanche to go hog wild, I might get murked.

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PlayStation Plus 33%
(Sony Raises PlayStation Plus Prices 15 Months After Revising Service)

Something that I don’t typically pay much mind to is the prices of major subscription services, as I subscribe to only… shit, I guess it’s six subscription services. WordPress, 101Domains, YouTube Premium, Nebula (it’s where I get my lefty brain mushing), a Tablo subscription for my mother, and my voluminous Patreon subscriptions. Half of which arguably aren’t even true ‘subscriptions.’

However, news of this PlayStation Plus price increase struck me as being particularly egregious. Partially because it has barely been a year since the service was revised in June 2022. Partially because the price hike was announced with only a week of lead time (August 30th, going into effect September 6th). But mostly because this price hike is downright absurd. Across the board, it is a 33% to 35% increase. A figure that is virtually unheard of for a digital subscription, and cannot be justified on any level.

Inflation has been kicking people’s asses and making life harder— just in general. But from June 2022 to September 2023? Interest rates have gone way, way up. But not enough to justify a 33% increase. So, what is this? Simple! This is the price Sony wanted to launch the services at during the 2022 revision, but decided to keep it low during the first two annual billing cycles to lure in subscribers. Now that people have already paid for their second year, expiring summer 2024, Sony is launching this now. All with the hope that, come the time for a third year, they will forget about this old news and just pay the extra $20, $35, or $40.

This is a downright manipulative tactic… and Sony is not even trying to justify it.

This price adjustment will enable us to continue bringing high-quality games and value-added benefits to your PlayStation Plus subscription service.

Sony Interactive Entertainment

Bullcrap! It will not enable you to do that. Sony is a billion dollar company, and if they want to take a loss and make your service the best, they damn well can! …And this is one of the many reasons why I will not pay for a video game subscription service. Because you cannot trust subscription services to keep the prices stable.

Also, do not tell me how the lowest tier of PlayStation Plus has been the same price since the service launched in June 2010. Back then, they offered 6 games for PSP, PS Vita, PS1, PS3, or PS4. But in March 2019, they switched over to a paltry 2 or 3 games a month. The games might have gotten better, but that is one hell of an inflation adjustment as far as I’m concerned. Oh, and I guess not paying means that people will lose access to their cloud saves. At least you can save them to a USB drive and upload that crap in your online storage…

Gosh, I’ve been saying PlayStation’s managerial decisions have gone to crap ever since SIE shifted over to America instead of Japan. Mostly because it sounds and feels right… but stuff like this makes me feel that I’m actually right.

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Super Mario’s Wonderworld
(Super Mario Bros. Wonder Nintendo Direct Rundown)

Last week I mentioned how strange it was that so few details were known about Super Mario Bros. Wonder— which I keep seeing people shorten to Super Mario Wonder, because that’s a better name. Nintendo realized this, and decided to release a 15 minute Nintendo Direct that goes over more of what the game has to offer.

This included previews of the 7 worlds within the Flower Kingdom, which follow familiar themes, but have enough creativity to feel like unique worlds. The reveal that there will be a total of 12 characters: Mario, Luigi, Peach, Daisy, Bucken Berry, Ala Gold, Toadette, Yoshi (Green, Red, Blue, and Yellow), along with Nabbit from New Super Mario Bros. U. And a confirmation that this game will be a treasure trove for burgeoning fetishists, with castle fusions, inflation, and enemy transformations on top of the elephant forms.

The stages are crammed full of unique gimmicks that should help them feel unique. New power-ups were revealed with the bubble form, which basically turns the character into a Bubble Bobble character, while giving them access to an extra platform. That’s pretty dang neat. The drill power-up is an evolution of the drill from Super Mario Galaxy 2, but far more versatile, letting characters drill down into floors and ceilings, while giving them a protective hat.

However, the biggest gameplay change over prior titles is easily the badge system. A series of unlockable abilities that remind me of the excellent skill system of Sonic Generations, but better… while also being worse. It gives characters access to new abilities that expand their movesets and add a new layer to the game. A wall climb ability, an extra boost to protect players from falling into death pits, the ability to dash through blocks underwater, and a gosh darn grappling hook. They expand the playstyle in a way that almost makes this seem like more of a Metroidvania title than a typical Mario game… but there’s a catch. All of these badges are optional, and the player can only select one at a time. Which is really bloody lame.

Now, I understand that all of these abilities would make the game fundamentally different, that it would break it, and probably make things a bit too easy. I get that… And I think that would be really cool. Gaining abilities that make the player feel like a master of everything is one of my favorite things in a game. It is a reward for completing challenges, empowers the player, and lets them take on newer more extreme challenges with the aid of these upgrades. Also, things like these are transformations, and the idea of transformation is hot as the sun! …Oh well. I guess we’ll just need to wait for modders in 5 to 10 years to do something Nintendo’s too scared to do.

That is all well and good, but the one thing that could have wrecked this game was crappy multiplayer and… Super Mario Bros. Wonder will only have traditional co-op locally. Because making online work with a 2D platformer is just too darn hard. Sure, people can develop fully 3D games with 100 players across multiple devices, but this is Nintendo’s latest Mario game. You can’t expect them to figure out something that has been figured out for years and years

Instead, they decided to do something that… just seems way more complicated. When playing the game, when on the overworld and in stages, players will see the ‘live player shadows’ of other people playing the game in real-time. This allows you to play with other players simultaneously, while keeping every player in their own isolated instance, with no overlapping progress. Which is a weird type of pseudo co-op that only features three types of interactivity.

Racing the ghosts of other players in real-time to see who can clear certain courses faster. Gifting and receiving power-ups from other players. And the last one centers around the fact that, when playing co-op or playing online, player characters become ghosts when they die, giving them a few seconds to revive before losing a life. In local co-op, they merely need to touch another player. While in the online mode, they either need to touch the shadow of another player, or a standee placed by another player.

This, combined with the fact that Yoshis and Nabbit only die when falling into pits or getting crushed, makes this possibly the easiest Mario game ever made. …Which is good, as this is coming after The Super Mario Bros. Movie, and this will be the first, or first new, Mario game for a lot of kids.

All in all, the game looks pretty much like what people wanted the New Super Mario Bros. series to be— a proper evolution of some of the most influential games of all time. It looks to be filled with creativity and great gimmicks for stages, and will probably wind up selling 10 million units before the end of 2023.

I do think it’s kind of… dumb how the game does not support traditional online co-op, but the more I think about it, the more I realize what the actual problem here is. It’s not making sure that players have the ability to play together, it’s how you track progress and save data between players. This is the core reason why so many games have bad co-op modes where only one player makes progress, and why multiplayer games are so often ‘match’ based. Because you need to change how you keep track of in-game progress.

Now, you might look at that and ask: “What progress? It’s a Mario game. The only things that are saved are stages cleared, items inventory, clear time, coin count, collectibles obtained, and various other unlockables. In a co-op setting, players should just get the coins they collected, one player clearing a stage or collecting something should count for all players getting it, and clear time is whenever the player touched the flagpole!”

That sounds simple, and it probably is… but try explaining that to a game developer— especially a Japanese one— and they’ll just go on a tangent about why that is impossible!

Super Mario Bros. Wonder will be released for Switch on October 20, 2023. Also, I am calling it the tenth game in the series, because it was. Yoshi’s Island was number 5, and there were four NSMB games after that… only one of which was actually good.

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The End of Volition
(Embracer Shuts Down Saints Row Developer Volition)

Damn. This one just stings. Volition has had a rough past… decade, pretty much. 2017’s Agents of Mayhem was an attempt to create a spin-off open world shooter with the flavor and trappings of their highly successful Saints Row series. But the game ultimately felt misdirected, samey, and overall lacked the same charm of its predecessors. Thus leading to a middling critical reception, low sales, and layoffs.

Faced with this hiccup that would otherwise kill a studio, Volition decided to launch a reboot of Saints Row, which became Saints Row (2022). A title that was met with a middling critical reception, a buggy launch, only sold “over 1 million units” after its first full month on the market, and “did not meet the full expectations.” Though, it did get an undisclosed sum of cash from Epic Games for being exclusive to their storefront for a full year. So it probably wasn’t a bomb.

A year after launch, and after an obligatory season pass of DLC, the game went on to launch on Steam at a steep 67% discount, before being announced as a PlayStation Plus freebie. …Which really made it seem like the current owners of Volition, Embracer, were trying to get the most of this title. And now, it’s clear why. Because they shut down the studio.

After standing as a developer for 30 years and making dozens of games, Volition has been shut down. While the failure of their past two titles to perform is the easiest thing to point to, I consider that to be the secondary reason. This is coming a few months after Gearbox’s parent company, Embracer, got screwed out of $2 billion by Saudi Arabia. Embracer announced they would need to close studios, do layoffs, and cancel projects to keep things from collapsing. Meaning Volition happened to be in the wrong place at the wrong time.

This is deeply upsetting, as Volition was a large developer with over 200 employees, and is home to a number of dormant series. It would be one thing if they were just downsized into a support studio, kind of like their buddies in Hoffman Estates, High Voltage. But seeing them just go away, knowing that everything they have done will be shut down and boxed up… it freaking stings. Especially because these people are going to either need to work remotely or move to find work. Because you know how many game dev jobs there are in freaking Champaign, IL? Not much.

In Cook “Chicago” County, you have NetherRealm, Jackbox Games, Iron Galaxy, Keywords Studios’ High Voltage Software, Phosphor Studios, Wargaming Chicago, and Raw Thrills if you wanna chill in my neck of the woods. But Champaign doesn’t have much beyond the main campus for University of Illinois. Most of the staff are going to need to move their lives, and probably out of state, unless they can get a remote tech job. And that sucks monkeys.

That all being said, the part that really bites me personally is the fact that this happened before the release of a Saints Row 2 patch that… let me do a history lesson with fresh links. In October 2019, Volition found the source code for the wonky PC port of Saints Row 2. With this resource, they planned on creating a patch for Saints Row 2 to make it function better on modern systems. This project was headed by Mike “IdolNinja” Watson, who was diligently working on a patch to improve the PC port, as detailed in this delisted Steam forum thread. The patch was making great progress and was mostly done. However, Watson passed away in August 2021, and with the reboot just a year away, word on the project went silent. (Also, here’s an alternative source recounting these events in further detail.)

I was expecting its release to be delayed after Saints Row (2022) was met with a more muted reception, but now… Volition has been shut down, and the status of the patch is unknown. It might be canceled and the final work of Mike Watson might be discarded and never to be released. It might get released by the owners of the IP, Embracer subsidiary Gearbox, on October 14, 2023— the 15th anniversary of Saints Row 2 (a harebrained theory I pulled outta my ass). And it might not be released until a former employee leaks it 6.3 years from now.

If the patch is never released, and nothing is ever done with Saints Row 2 ever again then… fuck. Saints Row 2 is one of my favorite games of all time, easily in my top ten, and I would be elated to have a definitive and improved version of it. If this leads to a remake or remaster of some variety… also fuck. Remasters and remakes run the gamut of quality too much to ever be a surefire bet, and I really just want a better version of something familiar.

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Progress Report 2023-09-03

Verde’s Doohickey 2.0: Sensational Summer Romp Progress Report:

Current Word Count: 107,231
Estimated Word Count: ~600,000
Total Chapters: 75
Chapters Outlined: 41
Chapters Drafted: 14
Chapters Edited: 0
Header Images Made: 0
Days Until Deadline: 269

Production on VD2.0 is still on hiatus. Work will resume after TSF Series #017 is completed. Afterwards, I will wrap up Act I: Switch & Swap, then focus on Dragalia Lost V3 Re:Works while swimming through tax hell.

Eman Looc’s Possession Scroll Review Progress Report:

Review’s done. It will be posted on Wednesday, September 6th.