Rundown (3/15/2026) American Wants to Destroy The World

This Week’s Topics:

• Rundown Preamble Ramble: America Wants to Destroy The World
• NetEase Stops Funding Nagoshi Studio (I Was RIGHT to Not Trust NetEase!)
• Falcom is Bringing Back Dragon Slayer! (And Ending The Trails Series!)
• PEGI is Rating All Games With Loot Boxes 16+ (Not Enough, But It’s Something!)
• The Children Yearn for Real Gaming… (Or Maybe This is Just Copium)
• The 7th Guest Remake Announced (It’s Actually A VR Game Without the VR…)

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Rundown Preamble Ramble:
America Wants to Destroy The World

How to even begin this? …How about this old chestnut?

There are three Americas.

The America of fantasy idealism, which positions itself as a nation of immigrants, a nation of opportunity, a place that welcomes the needy, the ambitious, and people from every background imaginable. A nation where people can achieve comfort, if not wealth, and live in prosperity. This America is not real and was never real. It is the product of a mixture of propaganda and optimistic liberal pondering as they continue to support systems that oppress immigrants, just so they can say they uplift them when they give them another inch of rights.

The America of domination, a favorite among the right-wing, evangelicals, generally paranoid, and liberal Caucasians. An America that deals in divine genocide, through righteous theft, and whatever theory would allow people to amass power while forming a steady caste system. Capitalism, racial pseudoscience, sexism, systematic oppression, and a relentless military might are among some of this America’s favorite tools, and its end goal is simple: Police everybody, punish them for fun, and insist that America’s actions are justified. This is done either through the flimsy veneer of “international law” or the brazen destruction and murder of whoever is their enemy of the moment, roping in their allies whenever possible.

This America is a war machine, hellbent on maintaining its position above all others, while siphoning wealth into a class of people who are willing to engage in the aracial murder of children if it allows them to accrue capital. It is not logical, it is not meticulously planned, it is quite cold, cruel, contradictory, and only “competent” through the sheer force of numbers. But it is determined in its goal.

Then there is the America of its people. Most Americans are poor. They do not have much say in their life, and are just going about their humble existence, trying to get on by while enjoying pleasantries. They go to school, go to work, hang out with their friends, engage with entertainment, and try to further their lives through various thresholds that society sold them as important. Accruing love, property, capital, credentials, descendants, etc. They don’t know how the broader system works, because that shit is invisible, and they are discouraged from finding out the truth.

Truly, America is this and 47 other things thrown into a blender, with the result being an unruly mess of a nation, imposing for its mass more than its form. During the neoliberal 90s and 2000s, it wanted to sell itself as the first type of America. But with the advancement of communication technologies and wider distribution of information, it has been increasingly obvious that was a facade and, in real terms, in international global terms, the America of reality is the America of domination.

America has been burning bridges with the international community, including long-standing allies. It declared war on its own people, establishing a swath of concentration camps as a means of incarcerating citizens, immigrants, and 5-year-olds, denying them sunlight, privacy, water and food. It has done all it can to prevent the ousting of many powerful people by drip feeding and censoring documents that expose them as sex traffickers and child rapists. And it has been spitefully destroying its own place as a global superpower for no other reason than it will break a lot, and what is more dominant than destruction?

The past year can broadly be described as the true beginning of the death of America the global superpower. Except, rather than quietly stab itself in the dick, it had the indecency to fuck over the entire world with its latest stunt as it declared war with Iran. A nation home to a massive supply of the world’s oil, a necessary part of the global supply chain, and a sovereign nation with a population of over 90 million people.

Why do this? Well, it’s a show of power and dominance, a temper tantrum against a nation who does not yield to America’s rules. So, America engaged in widespread warfare.

America assassinated the nation’s supreme leader of 36 years, Ali Khamenei.

America bombed schools for young girls to destroy the nation’s morale and the lives of innocent children just grateful to get an education.

America destroyed desalination plants in order to starve the nation of drinking water.

America bombed oil deposits, ushering in an ecological disaster where it is raining oil upon a city of 9 million people.

America has stifled the global supply of oil, with many nations measuring their fuel reserves in terms of days— which I’m sure is great for Cuba, who is also at the brink of collapse because America willed it.

America is directly responsible for oil prices spiking and no matter what move they make, the prices are not going down anytime soon.

America failed to properly defend its supposed allies from an Iranian counteroffensive, proving the protectorate role of America to be a fucking lie.

America has continued to fuel a two-pronged assault on the Middle East with the aid of its 51st State, Israel. And not just with the “old news” that is their genocide of Palestinians and colonization of Gaza. But with the far less discussed invasion of Lebanon. Now with the help of White Fucking Phosphorus.

America has branded this pursuit a Holy War, ordained by their Almighty White Christian God in order to genocide Muslims and claim their land, rich with natural resources and history, as their own.

America has shown no signs of stopping this assault, killing thousands, displacing millions, and causing billions in damages. All for no overt goal, only justified by the baseless claim that they are making nuclear weapons. When they just aren’t. It was a lie in the 80s, a lie in the 90s, a lie in the 2000s, and it’s a fucking lie now.

America wants to destroy the world. And for that, I despise America. If given the power, I would press a button that would kill every American citizen in the entire world, just so that it would kill those in power, their successors, and their successors’ successors. Because despite how much I would like to claim this is the actions of the Trump administration, at this point, it just isn’t. Trump is a symptom of the cultural disease that has been percolating within America before it was even its own country. America is a nation founded for and by genociders, and for all of its attempts at improving itself, it has never cured itself of this foundational cultural disease.

None of this is new for America, yet it has never been so brash about its intentions. America wants to usher in the apocalypse, as it believes that it is doing God’s will, and want to witness the centuries foretold second coming of Christ. America is an apocalyptic suicidal doomsday cult disguised as a nation. America does not strictly believe any version of scripture. Instead, it relishes in the vibes of an apocalypse, of them being a savior by killing copious amounts of “sand n-words,” and want to expend resources to fuel its leaders with money via military contracts and securities trading.

America does not believe in laws, it does not believe in rules, it believes in power, and should be seen by the international community as suffering from the same deep ills as any dictatorship. For that, I believe it should be shunned, starves, viewed as the vicious beast that it is, and sanctioned the same way it sanctioned so many other nations that threatened its global dominance. Its people would suffer, but its people are already suffering under the hands of dear leader. They can only claim progress through their own hands, and until its alleged democracy can be a functional democracy, or its warlord leaders are dead or disempowered, no change can be made. No healing can be done. And America is simply stuck this way.

America wants to destroy the world, and in turn, the world should want to destroy America, through whatever means possible.

…Preferably through destroying the people in charge, those fostering this culture, rather than commoners. Because if people are scared, they will just cling to authority. That’s what happened after 9/11, and the world is far worse for that.

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NetEase Stops Funding Nagoshi Studio
(I Was RIGHT to Not Trust NetEase!)

Well, this is not quite the outcome I was expecting. Back when the industry was on the upswing during 2019 and the COVID arc, NetEase was rather prolific in establishing studios around the world. I was a bit confused about this at the time, wondering how much sway and influence this Chinese company wanted over the international market, but I welcomed the additional funds into the games industry. However… things have not been going well for u of their studios.

• Ouka Studio in Tokyo released Visions of Mana (2024) and was immediately shut down.
• Nagoshi Studio in Tokyo is developing Gang of Dragon, a Like A Dragon like from the lead creative behind the series.
• Studio Flare in Tokyo is MIA and I don’t know what they are doing.
• PinCool Inc in Tokyo is MIA and I don’t know what they are doing.
• GPTRACK50 in Osaka is developing Stupid Never Dies, announced last year at the Keighley’s, and given its “1st” trailer this past week. It technically has TSF in it, so I will give it a thumbs up.
• Jackalyptic Games in Austin was working on a Warhammer MMO, but the studio “paused operations.”
• Jar of Sparks in Seattle has “paused operations.”
• Anchor Point in Seattle and Barcelona went independent through some miracle of funding.
• Bad Brain Game Studios in Montreal and Toronto is dead, just dead.
• Fantastic Pixel Castle, a remote studio, is also dead.
• T-Minus Zero Entertainment in Austin was rescued by some investors after NetEase cut funding.

I could go on, but this seems like some positively boneheaded financial planning. NetEase bet big, but their timing was wrong, their commitment was off, and rather than see these studios through to ship SOMETHING and have a return on investment, they are just ditching them left and right. I would assume they would at least see games they directly announced through the end of their development, but apparently even that is too much commitment.

Nagoshi Studio is the latest victim of the NetEase backdown, with NetEase deciding to stop funding their debut title, Gang of Dragon. Per Bloomberg, funding will stop from May. While the studio is free to get outside funding and ship their game, they only have two months to do so, and need to acquire funding in… like the worst time for games funding yet.

How much funding do they need? Well, the Bloomberg article quotes at least 7 billion yen, or $44 million USD. …Which seems like a lot, because it is, especially for Japanese game dev salaries.

If the game cannot secure funding, then that would be a truly devastating blow to everyone. The developers would be left with a half-finished game they spent FIVE YEARS of their lives on. Like A Dragon fans would be left stranded without a game for them to get excited by after the bumbling that was Yakuza 3 Kiwami. And developers would likely be scared away from committing to anything as ambitious as a Like A Dragon game.

All I have to say is that I hope that the traction of this story drums up some investor interest, and that nobody should ever trust NetEase to honor a long-term investment after this saga.

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Falcom is Bringing Back Dragon Slayer!
(And Ending The Trails Series!)

This week was fairly light in terms of gaming news, and I did my political venting with the preamble, so I’m going to hit off a couple semi-interesting stories that I saw this past week. Like old times~!

Falcom, continuing to defy most known rules about how game development works, has announced that they are bringing back the Dragon Slayer namesake for a new console game. This is curious, as Dragon Slayer is a legendary and largely dormant IP that made them who they are, spawning its own branching series of titles that… encompasses most of what Falcom has produced beyond Ys games. This includes Xanadu, Sorcerian, Legacy of the Wizard, and The Legend of Heroes, which itself is technically the overarching series for the Trails series.

Vintage Dragon Slayer is unknown in the West as it was developed for Japanese computers, and I have never gotten deep into it. I tried the Game Boy version of the original Dragon Slayer a few weeks back and I found it impenetrable. However, it is a series that Falcom holds in high regards, it made them Falcom, so the idea that they are going back to it is rather intriguing. I have no idea what it could be, but it’s another release to look forward to.

Another thing to look forward to is the END of the Trails series. …No, really. Falcom has announced that, to celebrate their 50th anniversary in 2031, they are going to announce the final Trails game and release it the subsequent year. From what I have heard from people who have played Trails, this makes some sense, as the latest game, Trails Beyond the Horizon, ended on a highly significant note. The series is amping up for a big final entry, and after going on for over 20 years with a continuous setting and recurring characters, you have two options. Either keep going at the cost of compromising the setting, like more IPs. Or… just cap off a 13 (to be 15?) part saga with a bombastic conclusion. …And then remake the games over and over again.

I kid, but I have to admire Falcom’s confidence and commitment to this idea. It is a creative choice, eschewing the profit motives indicative to public companies in favor of what they want to do as creatives. By telling the tiny but loud Trails fanbase this 6 years in advance, they have more than enough time to accept that things are being wrapped up. For new fans, who got into the series with TitS Eins (2025), this puts a hard cap on how long the series will go on for, which is… somewhat reassuring. If you play one game a quarter, you can finish the series in four years!

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PEGI is Rating All Games With Loot Boxes 16+
(Not Enough, But It’s Something!)

There is much to be said about the effectiveness of the age rating system for video games in the modern era. …Actually, that’s a lie. There is one thing to say: It kind of doesn’t serve much of a purpose nowadays. Modern children rarely request video games, preferring Robux and V-Bucks and the sort, and with digital platforms like Steam and PSN, it is pretty easy for a kid to just buy an “age inappropriate” game. There are no real safeguards for children in the modern digital ecosystem, and anything claiming to add them is really just a thinly veiled attempt at adding a level of surveillance to the broader internet. Hell, the Epstein Class wants to avoid there being any real safeguards for obvious reasons.

Gaming has changed, it has matured in at least three ways, and while age ratings are important for content descriptors and informing customers, they are not the barrier they once were. That being said, I do think it is very satisfying that PEGI (Pan-European Games Information) is finally mandating that games get a certain rating based on if they have loot boxes.

The actual details are more complicated than that. Games that have paid random items are being slapped with PEGI 16. Limited time or quantity offers will get a game a PEGI 12 rating— unless you can turn them off, in which case it’s PEGI 7. Games that threaten to take things away from players if they don’t return to the game are PEGI 12. And unless you can report players for bad behavior, the game will be hit with PEGI 18.

These are not retroactive, so games like Fortnite and Roblox won’t need to get recertified, but these standards will affect every game submitted for classification from June onward. I think the requirements here are too lenient— games where you gamble on waifus should get the same rating as the uncensored version of Manhunt 2. However, this is still something, it is acknowledging a problem, and I hope that systems like CERO and the ESRB adopt a similar set of standards.

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The Children Yearn for Real Gaming…
(Or Maybe This is Just Copium)

Here’s another mini story that I’m just throwing into the pile. At GDC, representatives from Nightdive, PlayStation, and GOG held a panel about preservation as a profitable venture, and highlighted a curious theory.

The younger generation of burgeoning adult game-players appear to be gravitating towards retro titles. With GOG stating that their top selling retro title at the moment, Heroes of Might and Magic III: Complete (1999), is seeing almost half of its sales from buyers under the age of 25. Which does not make sense to me, as it is a pretty heavy turn-based strategy game with pre-rendered graphics, and I have been told games like this are “real old” for as long as I can remember.

So, why is this the case. Well, the full talk is not available online unless you pay for it— and I’m not gonna. However, tweets about this presentation theorize that younger players are less graphically sensitive due to the fact that many grew up with games like Minecraft and Roblox. Which… I think is an interesting theory to acknowledge. Though thinking this topic over for a while, it might actually go a bit deeper than that.

For the past 20 years or so, the barriers between what type of game is allowed on a modern platform have fallen through. Retro gaming had a huge boom in the late 2000s as people became able to share older games with others via the internet, and emulation allowed poor kids with unrestricted internet access to check out thousands of games. This ability for older retro titles to be discussed, demonstrated, and played was rather… new. Someone in 1999 would probably not have ready access to learn about or play NES games. The magazines with that information would be out of print, the games would not be in major stores, and you would need to know a guy with an NES to even play these games. They would need to learn about Nesticle or something, find ROMs before Google was a mainstay, and be willing to play these games with a keyboard. There were barriers.

However, following the advent of the Virtual Console, PlayStation Network, and Xbox Live Arcade, there became oodles of new avenues one could pursue to play classic games on modern hardware. For older people, this let them experience classic titles they liked from their youth, and revitalizes genres and subgenres that were too niche or “low value” to be sold as packaged titles. For younger people, this meant nifty games were available for $10 or less a pop. Combine this with the prominent port-rich handheld scene of the same era, and you could easily imagine someone playing games of all major generations during their childhood. In a climate like this, it’s easy to not view a distinction between retro games and modern games, but instead view them all as just games. Because they are.

While Minecraft and Roblox are easy to point to as games with low fidelity yet a high concentration of young players for 10+ years, they’re not the only ones. Many viral games in the past 15 years have been low fidelity titles that could run on a damn toaster. The best example of this is probably Undertale, a game that was a damn sensation if you were in the right microgeneration. Or, hell, look at games like Schedule I and Peak and tell me that they are pushing anybody’s GPU. The graphical arms race is kind of at a stalemate, and with hardware getting more expensive and the returns diminishing so much… maybe the hunt, the lust, for the best graphics, for modern AAA experiences, is truly on the decline.

Topics like this intrigue me as I dearly want to believe that the younger generation is sick of all of this live service guff and $70 games. Just last week I talked about how there is a movement of youths flocking to DVDs and physical media in order to instill more meaning in their entertainment life, to feel like they are amassing something. Which I think is great. It is far too easy to become inundated with stuff in this digital world, and I’d rather people pursue new things, take chances, and expand their comfort zone, while searching for meaning, for experiences. That’s what I want to do! …But I’m too much of a damn mess to do so.

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The 7th Guest Remake Announced
(It’s Actually A VR Game Without the VR…)

Well, this is not a game that I would ever think to be a good pick for a remake, but this isn’t the first time this has happened. The 7th Guest (1993) is haunted mansion mystery Full-Motion Video adventure game that was on the bleeding edge of what games were and could be when it came out. It featured a meticulously crafted pre-rendered mansion to explore, real footage of people on a CD-ROM, and a level of detail only made possible through the power of super VGA graphics.

Its story was told through voice acting and video of human actors superimposed on computer-generated backgrounds, giving its numerous cutscenes a cinematic feeling by… basically being a green screen play. And by focusing on puzzle solving over “arcade reflexes” it appealed to a new audience. The sort who would want to play an interactive mystery novel that has the feel of a movie, not something with the level of twee or whimsy as a King’s Quest or Monkey Island. While silly, it was more mature, more real, and was a forerunner of the interactive media movement that largely died out during the tail-end of the 90s along with “mainstream” adventure games.

I think it is an interesting game, and title well worth exploring in the pantheon of haunted mansion games, like On-Line System’s Mystery House (1980), Microcabin’s Mystery House (1982), Sweet Home (1989), Alone in the Dark (1992), The 7th Guest (1993), and Resident Evil (1996). However, I also view it as a game from a very… unfortunate era.

The pre-rendered FMV era is that they were one of the clearest victims of technological limitations in video game history. While sprites are sprites and 3D models are rendered in the game, everything that was pre-rendered is a low resolution copy and/or edit of a far higher fidelity asset. FMV of human actors was recorded on professional level filming equipment, but was down sampled to fit the technical limits of computer at the times. Early CD drives were slow and computers struggled to play back video while running a game in the background. So everything had to be compressed and, as a result, looked like ass.

Generally speaking, nobody would willfully compress a live action human in order to create low res chunky sprites of them, or deliberately render video at 240i. Not 240p, but 240 interlaced. Nowadays, when everybody has HD cameras in their pockets, the only modern justification to use low resolution video is contrarianism and arbitrary file size limitations.

The same is true for the way 3D environments were used. They were rendered using a high-powered 3D workstation, exported, and down sampled, to be run on a computer. While this export looked impressive by the standards of the VHS era, they look like ass by modern standards. Not necessarily because of the model work or shaders— I personally find this “silicon graphics era” to be quite charming in their construction and enjoy how smooth everything looked.

With all games in this loose category, there existed high quality production archives and files of everything shot and everything rendered. These assets could, in theory, be incorporated into a version of their respective games to create an enhanced version. One with higher quality live action video and higher resolution exports of its 3D environments.

This can be done. I am reminded of how Night Trap was rebuilt and remastered with the original video footage, no longer compressed to run on a Sega CD. Which, combined with better UX design, made for a better experience. Still spiritually true to the original, just with more colors, more definition, and less futzing around with the UX so you can see things with your eyes.

There is a beauty to taking the original production files of a game that was limited by technology of the time and re-rendering, re-implementing them, or even deliberately recreating them bit by bit. It’s ultimately creating a fantasy version of a game that never actually existed, yet is based on things that were actually created. Ideally, we should be able to do this with hundreds of games! Unfortunately, file storage was expensive and procedures were a lot more slapdash in the 90s, so a lot of these production files are gone. If they do exist, they might be impossible to read due to the use of poorly documented formats, or through a mixture of storage devices that run the risk of falling apart if you try to read them.

There’s oodles of games that use pre-rendered sprites that I would LOVE to see use either higher fidelity sprites or the 3D models used as a reference point. But that is often not possible. The files are gone, and if people want to recreate these things, they need to do so from scratch, using a scattering of tools to restore what the game could have looked like if the technology permitted it.

I think there is something amazing about ventures like this, such as the HD backgrounds made for Final Fantasy VII (1997), the Render 96 mod for Super Mario 64 (1996), or the Resident Evil 4 (2005) HD texture mod. Yes, they are transformative and overhaul countless assets, but they can be seen as more attractive. I would never want to replace the original, but as an option, these are hecking neat.

Sorry, what am I getting at again? Right, The 7th Guest. They did re-release the game with a 25th Anniversary version in 2019, which seems about as good as you could hope for given how it’s an updated version with a scattering of improvements. Not the best, but the best way to play the game nowadays.

…So why would they even think of remaking this game? …And why they hell would they do it as a regular-ass first-person 3D video game?

Akumako: “Oh, that’s just some VR game from a VR studio that got its VR thrown out.”

…What?

Akumako: “Did you not see the announcement three years ago?”

No. I don’t pay attention to VR, as I don’t like VR conceptually. So, you mean this remake of the game, which looks to radically change the art direction, use 3D models for characters, and revises all the puzzles, is actually an earlier remake, just put out on more platforms for a wider audience?

Akumako: “Yeah, exactly.”

…If I knew that, I would not even have bothered with this segment. Damn it! And because this was made FOR VR, I also know that it would have chosen to be a VR mansion murder mystery game over being a faithful remake. It’s not even true to something as basic as the damn color pallet. Ugh! This game is inseparable from its technological innovations, so why not make the ghosts live action people, captured from every angle using a sophisticated camera system. It’d be expensive, but that is the modern day equivalent of doing what The 7th Guest was trying to do.

GARF!

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Progress Report 2026-03-15

To cap off this week on a cool note, I was recently directed Cave Story – A Lyrical Walkthrough by Lee=Emcee². A fully produced 70-minute-long concept album that doubles as a fully produced mixtape while being detailed enough to function as a walkthrough. That sounds very silly and like it would not work, but it does. It is deeply silly, incredibly nerdy, yet passionate, sincere, and just fucking good. Lee=Emcee² went all out with this idea, cooked something HOT with his lyricism, and it’s easily one of the favorite things I have found this year.

However, what I love as much as the album itself is that Lee=Emcee² started working on this album in 2009, and has been working on it, on and off, for 17 years. He got married, became a dad, and left this project by the wayside, but he never gave up on it. I cannot imagine working on a singular thing for 17 years, but some people are made differently.

If this came out in 2011, after I first played through Cave Story on Wii, this would have been a canon album in my mind, and I would be pulling quotes from it all the damn time. Just like I did and do with The Adventures of Duane and Brando. (Also, side note, but Brando came out as trans a few years ago and is now going by Jaime. She’s still producing nerdcore raps to this day, and they’re pretty good.)

You can download the album, and the videos, via an official Google Drive upload. The WAV files are nice, but I wound up converting them to OGGs via Audacity, as I don’t have a GIG to dedicate to even a dope album like this. Not in this economy!

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2026-03-08: Really bad day for me. No anime with friends because of work, and I was so pissed off by the circumstances that I could only temper my mood by fantasizing about suicide. I did not write anything, because I could not get in a creative mindset after my panic attack episode. So I just read some TSF manga I have been putting off for a few weeks.

2026-03-09: Wrote 1,400 word preamble, wrote 700 word Gang of Dragon bite. Made two header images for this Rundown. Wrote 1,250 words for VD2.0 CH 7-06. Yes, I am going back in time to write the Mexico segment. I wanted to do more, but I got ragebaited by a moron who made me play the first half hour of Darkengard to confirm that, no, emulating it and increasing the resolution does not hurt its vibe. What the fuck are you talking about, ya vampire furry fuckwit?

2026-03-10: Damn it. Got distracted by some inane writing for a Ramble that I may never finish and only wrote 1,100 words for VD2.0 CH 7-06. I’ll plow through more tomorrow, I swear. I got distracted by Granblue Fantasy which I LOVE, but is too dangerous for me.

2026-03-11: Finally getting my groove back. Like COT DAMN do I hate the inconsistency the most of all! Wrote 4,600 words for VD2.0 CH 7-06, stopping before the sex scenes, as I’ll need to review some prior scenes for sexual characterization, as this is a sequel fuck coming cumming up.

2026-03-12: Wrote 2,800 words for this Rundown and edited it. Wanted to do more, but I had difficulties locking in.

2026-03-13: Another annoying day. Lost internet in the morning, bossman kept changing when I was going to start working, and struggled to find the right hook for the first sex scene. Second one was EASY. 3,700 words written for VD2.0 CH 7-06. First segment is 11,000 words. And 11,000 words a week ain’t nothing to be ashamed of. Unfortunately, I wrapped up too late to start a new segment or anything, leaving me listless until bedtime.

2026-03-14: Had chores, had work, and had to do a bunch of Google Maps based research on the layout of Monterrey, Mexico, as that’s where VD2.0 CH 7-09 is partially set. It’s a world-spanning adventure chapter, and Mexico is part of the world! So I only wrote 4,600 words.

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Verde’s Doohickey 2.0 – Act III: Worldly Wonders
Progress Report

I am just BARELY halfway done with the writing, and I am very happy about that. But BOY am I getting anxious about if I will be able to meet the deadline, when I will have TWO MONTHS of light work in the summer. I’ve got this by the ass, bro!

Current Word Count: 133,011

Estimated Word Count: 250,000

Words Edited: 0

Total Segments: 30

Segments Outlined: 30

Segments Drafted: 15

Segments Edited: 0

Header Images Made: 0

Days Until Deadline: 108