DEVBLOG №5: World-building

The previous publication spoke in detail about the tools and general issues related to the development of the game world, plots, principles of their development, including the specifics of the root cause of choosing exactly this tool in the context of other proposals, with only a small, in that final form, designation of how they can be used in practice. And this publication more clearly describes exactly the practical use of inventories of functions, not only from their technical part, but also from the creative part, i.e. about the process of working with them in general within the framework of development.

The publication in question is rather a continuation and development of the previous topic, it completely bases its contextual perception on the practices of the toolkit, therefore, there is a requirement for knowledge of the toolkit, and also, there is even more disclosure about “who” essentially uses such a toolkit, this time there are conversations and descriptions of individual approaches, philosophy and elements of the project plot.

In considerations of these approaches, views and other higher forms of dialogue matters, there will always be more abstractions, theories, concepts, rough philosophy than any such specific methodology, algorithm for creating the world, not only because such an approach, in my humble opinion, does not exist at all, but also because such an approach is not implied not just in the philosophy of the project, but even in its tool. If some things can be automated, then these are only shells, such a form of external pictures, sparks of ideas, roughly speaking, patterns.

First of all, before we discuss and talk about any practices and applications of tools, we will discuss and clarify what such a concept as practice of tools exists at all and what it is like. In essence, practice [application] of tools is a sufficient presence of it in the ecosystem, the tool may not be used in fact, but the fact that it exists is taken into account, therefore it is already sufficient for work processes and their bases - the very possibility of implying that it is possible to choose or discard in the course of specifying the tools is already its application.

The use of tools, within the framework of such definitions, occurs in two basic categories, parts of which redefine them - this is both artistic practice and technical:

Usually, artistic practices imply the existence of technical practices as a foundation, since those, for the most part, represent the process itself and its regulations, roughly speaking, methodology.

Toolkot practice: technical

There is a separate set of technical practices, applications and rules of methodologies for this type of toolbox use, we call such forms of application methods, special applied work processes for a specific use of the inventory of functionality.

Methods are practical actual applications of the toolkit for its technical purpose, direct use and methods of its use with only a small content of creative practice of this context of the entire development workflow.

Method of game world

The lore repository is an automated ecosystem, in which there are many tools to correctly distribute files, check their metadata and general interactions with each other, as if creating a Wikipedia with the effect of a smart space zettelkasten, making this entire repository the "brain" of the game world.

The base, a kind of interface, is a system of spaces in a common storage, which divides file categories into two subspaces and a kind of submodule in the form of a third-party repository (its directory). In the presence of such systemic divisions, there is a certain implicit actual methodology, which also implies the following program elements.

When using smart spaces and subspaces, many patterns [templates] are used that automate the table of contents, in essence, some metadata designations and other small elements of automation in the methodology of writing files, there is a metric ton of templates for various contextual cases that are automatically integrated into the system of dependencies and graph contexts, developing common relationships.

In the contextual framework, there is also a separate list of tools that are passively used to integrate either text data from the point of view of human perception, or media data of other natures, for example, to passively integrate all images into one extension to simplify use and avoid problems with carbon copies. And there are other tools, for example, some additions to the control panel [status bar], which displays the reading time, the number of words, and some interactive buttons allow you to check the elements of words for synonymization and interactions on graph links, so as not to damage them.

When working with the file structure, the main plugin in this area is ″UNITADE″ — it allows you to edit unique data of your own extensions, is actively used when compiling a JSON plot node (graphs), and also, as the most common practice, for developing timelines in both graph and table notations, thereby simplifying the process of storing and editing, differentiating such a data format. This plugin is actively used to integrate other applications and their files directly into the storage interface, it is enough to designate the type of extensions in its concept and when clicking on custom data — the plugin will call the program that is assigned to this extension in the system and thus, you can integrate all the tools within one environment, for example, language database files, data model files or images, archives and others, which, like other data, are stored literally next to the plot masses.

The second plugin that works with files, or more precisely with their metadata, is ″WHISPERER″ — it adds an element of musical accompaniment not only to the storage itself, but also personally to each file, thereby setting the atmosphere for a particular document in the essence of writing plot masses, it is usually used as an element of attaching music to articles about characters or languages, historical situations and states, in other words, in any place where it is necessary to set the atmosphere.

There are in addition to and separate vast sets of small tools that are passively and constantly used, with such judgments, emphasizing their functional concepts, and not their enumerations themselves, they allow you to designate formulas, schematics, support for various media data, previews, integration of individual ecosystems and, some even level of "applications" in applications, adjust the styles of the text and the application itself, designate and create timelines, turn databases into export and import elements, conduct analytics.

Details on the methodologies, philosophy and theory behind their use, which is clearly more than a description of their technical practice, are given in artistic practice.

Method of game plot

In the context of technical practice, when writing plot masses, a mixed context is essentially implied, i.e. several parallel technical events, requirements and, most importantly, fundamental and logical presence of elements of the game world in the context of these plot masses, roughly speaking, even before writing a plot of one form or another, it is necessary to write a minimum list of characters, it is necessary to explain in the copybook the personality, appearance, philosophy, attributes of power and magic, etc.

usually, characters carry the story behind them, which is why they are written in the form of a full-fledged plot in themselves, as a full-fledged work.

After the elements of the characters necessary for forming the context of the story have been written, they can be integrated into the stories and the plot as a whole; in particular, if the latter has a table of events written, then this also causes simplifications and complications at the same time: it will be easier to define and divide the plot in acts and actions more consistently, without an element of spontaneous development or a change in quality outside the framework of the narrative itself, but it is more difficult to define the concept of the chronicle itself.

But the character allows not only to integrate its place in the story or event, but also to begin to formalize and write out the dialogue structure according to the narrative, those in any case take place either in the script or the game system of interactions, dialogue triggers, reactions and consequences of the player's actions, without clarifications in the methodology, compiling dialogue iterations for the game itself. In this system, its infrastructure and preparation, we are already creating a fundamental framework for a full-fledged three-component scenario, which is written in several of its representations and levels; the process of developing dialogues itself is represented in the form of graphs and their filling with connections, with the support of two software contexts at once. All data and events of dialogues are specifically stored in other storages and repositories, but the most important thing is that when writing a plot there is only one main practical "essence" — the story implies a game world, is able to show the world for the sake of the world and information about it, but the use of this world is also included in the headings of good quality, and not just this content as a phenomenon: the plot implies a game world, as well as the game world plot.

After writing the characters, integrating them into the plot contexts and, based on such data, creating dialogue nodes that define the dialogues and interactions of characters in the plot and in the game separately, their actions, etc., we begin to divide the practical part of the scenarios into its elements, where the process of its development seems, although elementary, but, in some ways, rudimentary.

In the process of developing script materials, several types are taken into account (and developed), which are prioritized sequentially, i.e. according to their order of writing and logic behind the action there is a clear codependency:

a) the first is the plot script or the event script, in which not dialogues are written, but general plot sequences or chronological connections, concepts of history, comparable to some extent under a chronicle;
b) the classic script, there is a combination of dialogue development and plot script, it develops the plot script by connecting and integrating dialogue and plot nodes into its concept;
c) the director's script, the most complex and developed script is rarely planned for writing due to its function - specifically directing, i.e. the location of the camera, effects and staging and other elements of cutscenes and frames, it is the peak point of the script development and is written as a mixture of all three in a set.

The process of creating a plot, a script, as opposed to writing a game world or its characters, as paradoxical as it may seem, is not so much a creative process, but rather a processing one, using it with its problems of insight into the essence of this world; characters are not invented, but conceptually processed in the context of a basic action — communication. Since we write dialogues, the most important thing is not a thought from the head, not from the place of reason, but from the place of the mouth, tongue, therefore, the standard practice is usually considered to be reading all the manuscripts out loud, sometimes with the addition of musical accompaniment, because it is that very element of pathos and epic in all known media that makes dialogues more interesting, but usually, such solutions are not enough and if "life in the world" is written poorly, then it is simply bad and nothing more.

in this regard, part of the process would ideally be to basically read the work out loud with someone other than the author, as if it were a full-fledged element of life according to a script or acting.

In parallel with all the work processes of the plot, in some experimental form, both before and now, there are attempts in the development of novelization of the plots of the game and other media, which could be to that extent affiliated with literature and the world of METEOSPAX, this is especially relevant, given the scale of the three-stage scenario, allowing the development of the very idea of history and the world in any genre and media direction.

Details on the methodologies, philosophy and theory behind their use, which is clearly more than a description of their technical practice, are given in artistic practice.

Method of ideas

The design of ideas is a spontaneous process, it is impossible to plan it in truth and therefore the work process is an absolute chaos, however, this type of thought can also be directed or saved, the method of ideas itself regulates this; the exclusivity of working with ideas is their general temporariness and impermanence, unlike other processes, except for the inspiration itself and its recording, there is nothing else.

Even earlier, before the definition of the toolkit, ideas were not only disordered in the order of essence, but also in the order of storage, but now only two systems are used to work with them — a special storage and a special bot, in which ideas are recorded. The special magic of inspirations of ideas is their spontaneity, because there is no methodology for dividing all this data except for the methodology.

When working with ideas, an additional element in their perception and editing is the fact of their pure recording, i.e. raw, unfiltered forms of writing, they are written as is, and, most importantly, almost always include materials in one form or another within themselves, even if it is some kind of independent inspiration for visualizations.

Toolkot practice: artistic

The application of artistic character in relation to the toolkit is only nominally a practice, and globally a philosophy and concept of management and development, i.e., philosophy, such forms of application we call contours, special methodologies, only partially related or indicating the work process and more on the ideas at work.

Contours are theoretical applied applications of tools in their artistic purpose in the absence of direct use such as a basis, where the dominant is the methodology, philosophy of other judgments, only with a small foundation.

in this publication module, we consider only those materials that were already in the development process (there is work experience), of course, the formula for developing a game world is greater, but there will be no discussion of subject areas of this kind in this document.

Outline of character

Characters, as subjects of persona-determination, to one degree or another, are fundamental elements of the game world in any philosophy and representation, regardless of their types and designations and categories, for any character is a kind of window, a way to observe events from a lower level of existence than cosmological analysis and review, they are the bearers of history.

The process of creating characters is a sensory and personal process, for it implies in its core a certain "synchronization" and representation of that subject not as an author, but as the character himself, only telling in the first person his story, feelings, emotions, representations, where the exclusive in this regard are external elements of forces, psychosomatics, ideology and, in some perceptions, clothing and weapons, secondary attributes.

characters, their stories, direct [in themselves] their own stories into themselves, where the author, as a creator, only represents them in words and nothing more.

For each such character, as a fixation of the emotional background and atmosphere, a musical accompaniment is assigned, which should ideally, absolutely ideally display the feelings associated with the character: his mood, his emotions, such is represented in theory with each subject of character determination.

Usually, very few characters can have their own compositions for the background, of course, we are not talking about the author's developments, but about elements of inspiration and display of mood, atmosphere, if after sorting through many audio materials, there are only "close" in essence transmissions of the character, then even this will not be suitable, in such a context, what is needed is the ideal, the middle in the absolute; therefore, quite a few characters represent only a series of musical accompaniments, and not some kind of theme, even more so even in the absence of such arrays.

When we talk about the process of writing characters, in such a concept there are no main or secondary characters, as well as other similar categories for describing and working with them, they are all equivalent in their importance and categorical nature, requirements for their description and implementation, but nevertheless - they can differ in the volumes of events and volumes of interactions:

a) in some situations, so, characters are provided as a partially legislative existential entity, when the usual equation of logic and images denotes all or most of life, these are primitive-basis: they are simple, but fundamental, for they are the majority of living beings in the world;
b) opposing themselves to pettiness and simplicity, some characters are saturated with many events, actions, other historical contexts, these are called complex characters; from them comes another division, in particular, when a complex character creates a similarity to itself, i.e., the ability to recreate from its own individual image a whole multitude of other characters, this kind of property is called similarity, and such characters are called similar;

One of the main features when writing a character is the requirement and feature in presenting it as human; to some extent, alive, so worked out that the difference in comparison between the character and the person that exists on the pages of our history, in books and articles, will be zero, to some extent such that the character will be more realistic than the historical person, and all because for an ordinary person, both the person and the character are somewhere far away there, in another world, in another time and, in fact, on such a concept of property and the effect of empathy for the character is based.

The final chord in understanding how characters are initially formed is several definitions and categorical properties, where each type of category to one degree or another reflects the process in writing and creating characters:

a) category by need, these are characters that always exist by the nature of requirements, they must be, regardless of their relationship to general desire, quality or level, interest and development, like other living things - they are and this can only be changed by death and logic, usually such characters are an element of a higher idea, concept or history, these are the same cliched characters without a name and history from the past that are not revealed;
b) category by essence, opposite to the category by need, are those characters who already create relationships and desires, qualities, levels and ideas around themselves, if they die, their history in the legacy will continue because they themselves are a high idea, the essence of history and its consequences;
c) a category by desire, a separate categorical type of characters that equalize the author's desires and the conditions of the world being developed, they are also divided into two subcategories, let's call them essences:
a) either this character "made" himself this way, developing the concepts of autonomy and self-direction of characters, i.e. they provide such a format of knowledge about themselves, which I then translate into text format;
b) or this character fell victim to the concept of the author's desires in the essence of his writing and design, this time without creative freedom and autonomy, satisfying only the author's requirements and desires;

Complex characters can be all of these criteria at the same time, which is what makes them so complex and diverse, and interesting at the same time.

A secondary feature in writing the contexts of characters is the very fact of the style of writing the text, it works not only in philosophical literary meanings, but also in the direction of writing characters, such meanings in which we write "people" not as people themselves, but as some cosmic entities that see the concept from above and completely.

you can't confuse style and content, they are connected in one matter, but they do not reflect the same essence of the text, they are different in unity.

Outline of language

Language, or a lingua-predicate under another name, is such an integral part not only of the characters themselves, but also a fundamental discrete of any world, including the recreated one, it [language] is a consequence of that intellectual activity inherent in history. Therefore, when the process of language development is considered, judgments and logics come not only from the linguistic side, but also from the side of history, culture, religion and worldviews, because language is a reciprocal element of all these systems and languages to one degree or another reflect thinking in general, this is the main emphasis in its creation, review and description.

And also, among other things, when developing a language there is a variety of implicit rules and conditions that are not obvious at first glance, not only parts of speech, constructions and their various combinations, but also rules for permuting words, constructing sentences and logical dependencies, this language norm is the standard, with tens of thousands of foundations and rules, an even greater number of exceptions, inscribed by knowledge from the inside about this language.

Inscribed knowledge from the inside about the language is the mental association of thinking in this language, for example, the process of thinking in the language, this is an innately earned ability to know the language, therefore, even this kind of aspect, which cannot be experienced a second time, must also be provided for, relying only on attempts at prediction.

therefore, simply knowing the language from birth (that's why it is native), is easier than learning a new one, we cannot only perceive and compare this.

But, at the same time, the most important, problematic requirement for the language is, of course, the process of filling and forming the dictionary, where the fact of filling and its complexity is associated not with unique cultural words and their definitions, limitations, but with such simple and elementary definitions and images, basic concepts and words for them.

a) it is necessary to take into account potential lexicographic combinations and what symbols can be in what orders, parts of a word, in what position two symbols can be with each other, etc., whether the throat of a person or other creature is capable of producing the necessary sound or pattern of sounds;
b) it is necessary to take into account that this language is spoken without irony and with a completely serious approach, because it is necessary to connect concepts and words, not only with one word or category, but over entire groups of concepts and words, where it will be logical if one fundamental concept has the same lexical base that is the same with a group of words, connecting simply one word with a whole list of concepts and their symbolic forms;

The center of gravity of a language is the complexity of pronunciation or understanding of concepts, some of which may seem stupid or unrealistic, but the main thing is to understand that absolutely any language, like any other type of information, constantly and inevitably strives for simplification, this is part of the process of language evolution.

Continuing with the theme of complexity and processes of language development, we can move on to the topic of the evolution of language itself: it, language, can be either synthetic (artificial) or natural, where the first is a product of human activity at a single moment, and the second is created through the process of development in small "steps" of details of differences from the rest or from scratch in general, this is if we are talking about very ancient languages or fundamental languages. However, the development of language is also divided similarly into such groups and according to the same criteria, because it is important to take into account not only the category of language, but also the category of its development: synthetic languages can have any properties, conditions and predicates, it therefore acts as a synthetic language, because they are artificial: they may not have some letters for sounds, abstract, unusual or unrealistic concepts and other similar ones, natural ones are not capable of this.

Inspiration from real languages when developing an artificial language in any creative world must be extremely careful, because the resulting language in form cannot [should not] have a logical relationship with a language that exists in reality, only small integrations are encouraged: a couple of words or constructions, rules allow the language to achieve the effect of kinship with existing languages, so that it resembles and feels like a real, but distant dialect or accent, but nevertheless it is not.

Outline of religion

In the game world, unlike the existing reality, there is such an implicit unique phenomenon — some religions have deities that manifest their action and influence in the material real world, there is a representation of that cosmic force that people worship, therefore, religion in this regard becomes a science, a fact, an act of action, it is not just a higher matter, because it is a matter about the existing through the non-existent, about the present and for such a train of thought it is necessary to connect a fanatical or innovative philosophical approach, because the gods exist and they are among us, it is necessary to unite science, metaphysics, philosophy and religion into a single stream of thoughts and judgments about space, life and society, i.e., absolute knowledge, which, to simplify, is what religion is in striving.

some religions have an atheistic approach, i.e. they deny deities or the supernatural, but not elementalism and aspects; others may essentially have a synthetic (atheistic) origin, therefore each of them is situational and has no categories except by existence.

Philosophy and religion discuss the same matters, but not in the context of real existing deities, in which case religion is more material.

One of the main geniuses of faith in terms of developing a game world is its abstractness, or rather the fact that faith itself is not tied to logic, it is tied to just “faith” — it can be disgusting, it can also be sexual, inadequate, normal, delusional or adequate and all this even at the same time, it can be nothing and what at all also; this is its absurd genius, which allows it to be anything, in truth its own god of its own thought and form of existence-definition.

It is important to note that from the development of language or history and other similar contexts, then to be inspired by existing religions, confessions is absolutely and definitely prohibited, we exclude the issue of conflicts of realities and their interests, but also spoiling the general impression of the perceived religion and can raise questions to the author, a fundamental violation of the immersion effect occurs.

But what to do if the symbols or the like are repeated, similar to other religions and confessions?

If the context is so obligatory, before implementing and using this kind of symbolism, it is necessary to explain what is behind it at a fundamentally perceived level, it cannot and should not appear in a free form without the possibility of getting an explanation of why it appeared and what character it carries, the meaning of the symbols must be defined so that the primary associative series is associated with one's own concepts, and not from the outside.

Knights in the game world have the symbolism of a crossguard upwards, but this symbolism is of course not used because of Christian dogmas, but because the sword, when the blade goes up, looks like a cross and vice versa.

Outline of culture

The cultural meaning is the essence of the truth of many connections of intellectual environments of activity, therefore, it is not so to say dependent, but a coherent element-parent in all respects of all objects and subjects of the environment itself: language, religion, philosophy and other types.

in this regard, cultures as phenomena are not self-sufficient, they absolutely do not exist in a vacuum, and its philosophy is presented as both a dependence and a precursor of its other properties.

It is extremely difficult to describe culture not only because of its concept, but because of its decentralization in general, because when we describe culture and talk about it, we lack knowledge, we need to understand that there are separate parameters and elements behind it that are united by this very culture, but not by them themselves, and therefore, we need to perceive culture as a unifying glue of such a form of subjects, and such subjects are always spontaneous.

The only thing that can be unique in the discussion of writing and designating culture is its aspects [parts] in themselves, for example, ideas or holidays, features of relationships, the use of some constructs of thinking-logic, different ways of living, because if we clarify the concept of culture, it is simply life, a way of living and perceiving, a methodology of life with its included.

Outline of statehood

The state is a unique subject of the game world when writing it, such a representation is comparable to the macrocosm because there are tendencies for a certain representation of it as a practical god, cosmology in man and his society: with such an approach and work with the state, it is presented as a certain layer of society in the form of many individual personalities and their ideas for many centuries, forming a single political mechanism.

The main problem when writing the state seems to be its paradoxicality: it is unchangeably unchangeable, abstract and confusing by its nature, yes, in the terms of a person's life the state is always the same and absolute, but in itself, for itself, the state is uncontrollable and to some extent wild, such problems are resolved by a higher approach in terms of perception itself, it is necessary to think not as an individual, but as a society, integrity and structure, moreover, there is no morality in such a thought.

Sometimes we are talking about the distribution of states in categorical discrete designations, we do not appeal to the facts of whether a state is real or has already fallen into the ruins of history, as well as other arguments, because these are time frames, the concepts that regulate our work process denote more complex concepts in the designation of the following classifications:

a) there are temporal states, these are precisely statehoods (not to be confused with states), they are characterized by movements, revolutions, like other temporary elements, such states have a clear achievable constant goal, and all elements except its philosophy are constant;
b) there are permanent states, these are precisely states, they are characterized by formed political entities, where these same states are described by the absence of a constant, a goal, i.e. they are like things in themselves, a state for the sake of a state and everything in it except for the philosophy of the category is impermanent;

Any other categorical frameworks do not seem valid for describing timelessness, they depend on the situation and context, but this concept has no other variation, because the only thing that is distinguishable from history and time is information and its forms, aspirations and variations.

Philosophy of the world in general

The world, as a phenomenon in general, is extremely interconnected with its elements and yet it is represented not only by them; its contour is divided into these two unambiguous but different conditions, as both concepts in one and the same essence.

When we speak about the world in general, we accordingly speak about metaphysics and ontology.

The main representations of the contours of the world in general are such semantic designations of its [world] through the "prism" of definitions in all singularities, anti-singularities and the like, i.e., through the elementary categorizing elements of universes, when talking about which, the speech begins not with small elements, but with general universals.

The dominant figure designating the system of the universe is the classical singularity, but its definition is a paradoxical centered nature, in its all-designation and universality, it points to infinity in itself, but it does not give perception within its framework - in essence, it makes the entire system designated, but does not designate the elements of the system.

The singularity itself in such methodological judgments simultaneously follows from the classical undesignated concept and simultaneously designates its own within the given context of judgments of singularity, designating it as an all-encompassing omnipresent and infinite essence, including all potential essences for its categories, structures that categorize all concepts at once and once.

Introduction to anti-singularity, the concept of the reverse of the original singularity comes from such logic, that there is such a potential concept, that the essence of any structure of the singularity itself and its reality, that, truly represents the desire for emptiness, ideally, the very void-reverse designated, i.e. such an element in the presence of singularity, which completely turns singularity into absence, i.e. in general everything into nothing, representing the beginnings for the emergence of terminologies of anti-logic, antithesis and metaforms.

General anti-singularity, as a methodology for projecting singularity into the logic of anti-structures, makes it possible to solve such problems in the absence of transitions between concepts, there is no dilemma at all, in the context of developing a game world, such a philosophical approach automatically implements all elements, unmarked, but suspected, from the unanswered root causes of the creation of reality to the process of inventing basic desires and life.

excluding additions and clarifications, the general anti-singularity represents the possibility of writing plots in such a way that no matter what fundamental question is posed, all the answers will be correct to one degree or another.

Based on the logic of singularity, there is a potential thesis that any formational structure of the very phenomenon of singularity in the reality surrounding it, which consists simultaneously of rational and irrational point entities, represents an absolute nothing or a philosophical-thesis emptiness in the context of its own environment and approaches it rather than categorizing the all-encompassing reality for itself, which with the corresponding idea explains the behavior of matter, thought-form, during the transformation of such singularity itself into the essence of the “finite opposite”, which breaks the corresponding metaphysical chain in this case from emptiness, designates to singularity, that is, everything that somehow expresses the metaform of world projection through one of the ideologies of antithesis.

General singularity, this is in the methodology of approaches of matter and thought forms, is a special contextual metaphysical and anti-structural model, implying direct irrationality of objects existing in local reality in the process of their transformation to approximate rational structures or their resulting factor simultaneously supporting the rationalization of their irrationalization in the general system.

There are both general and local and other types of anti-singularities, but in the context of world-building and distribution of ideas, the defining one is simply local anti-singularity, an abstract model in which the central core of the entire system of the universe is a local object, a private of this entire universe, and all systems go from it, where the border is definitely not emptiness, but only a group of all sorts of concepts, i.e., singularity.

The sought-after approach allows us to appeal to "empty" unmarked ideas and terms on an equal footing with formed ones, where in writing the elements of the world and its development of plots, only private practice is used from the general and global concept on which the world is already based. One such concept regulates the categories of divisions and the properties of the original on the basis of general philosophy, producing an equation of realities.

This is only a small representation of the general global concept, due to the conjugation of which, logical fallacies may appear, to show a possible full concept, the same possible reason, demand is needed.

Philosophy of game world

The game world, as a concept of contour, differs from the contour of the world in general, but they are connected, in particular, the contour of the game world is the contour of the world in general, which is realized through the method of the game world, it does not regulate philosophy and fundamental thought-images, but the practical use and development of the principles of philosophy and local principles of the world in general.

Singularities and related concepts refer themselves to the concepts of approaches to writing and forming speech, text and thought, those in turn are derivatives for the principles and literatures, based on local definitions and concepts of plots, contexts and genre concepts, forming a separate new type of applied philosophy for literary limitations and contextual frameworks, creating a common methodology for all works in general in potential, at will, which can be used for everything.

In the context of singularity realizations, the world is realized as information using two elementary approaches, let one of them be called abstract-deus, and the second de-entropic: they unite the rational and the irrational within the framework of one system of methodology and form their own categorical designation of thought itself, a single criterion as an object.

The data primitives that we refer to hierarchies [another definition of the project philosophy] represent a general information model, not just one that is subject to contextual compression and integration, but all elements of which are revealed as a metaphysical pattern in the field of these same information contexts, or more precisely, correlations of categorizations of all kinds of data, both inside and outside. In the final resulting fact, certain contexts are created, categories that reflect not only externally, but also internally the content of the data, developing the concept of the model of hierarchies, uniting them, creating such a basis for metaphysical abstraction, this is the ideology of divisions of hierarchies.

The idea-dominus is a certain type of philosophical thesis, initially possessing infinitely large metaphysical morphological contents, such a large idealistic object that it is not capable of either self-isolation from its own contexts, or of expressing the absoluteness of its attitude to its own world projection from which it emerges, forming an eternal self-creative function, definition; it is divided into two types:

a) the idea of world building — in the contextual system of implementation mental approaches, an indefinite process in time or executable frameworks of change or full-fledged creation of subjective or objective reality for the purpose of forming a metaphysical world of the essence of predetermination of reality as such;
b) the idea of world saturation — in the contextual system of implementational mental approaches, predetermined in the real reality of processions according to temporary and executable requirements of filling or contextual implementation of a coherently created reality for the purpose of co-development of the metaphysical world for the post-determination of world creation.

The idea-dominus of world saturation constantly fills the world-building.

World saturation as a process of the phenomenon of world-building and the general dominant form of representation of the element of the universe, due to the nature of its own categorical designation, forms within itself subdivisions similar in behavioral criteria to their generator, but more discretely:

The idea-sabok is such a certain type of philosophical thesis initially possessing minimal properties, which strives for its complete absence, but due to the endless creative metaphysical size of the idea-dominus, continues to manifest its existence for the imbalance of information, moreover, it is divided in the following way:

a) the idea-sabok about information, or as it is called in contextual contexts, the global idea predetermines the necessary conceptual images, forms and essences of ideas that relate as a certain categorical property:
a-a) languages and / or language groups;
a-b) religions and / or religious methods and their-, conceptual forms of knowledge;
a-c) philosophy and/or philosophical methods of their conceptual forms of knowledge;
a-d) and so on, which is tied to the natural-scientific, that is, global nature and which is close to the rule of the invented according to the eternal;
b) the idea-sabok about the naturally-projected, or as it is called in contextual contexts, the natural-universal idea predetermines the necessary conceptual images, forms and essences of ideas that relate certain categorical features as follows:
b-a) biomes, climates, flora and fauna;
b-b) racial affiliations, biological peoples;
b-c) planets and planetoids, as well as other cosmic phenomena;
b-d) and so on, which is tied to the natural-nature, including the noumenon maximally-natural, but not so close to the process of world-building;
c) the idea-sabok about the naturally determined, or as it is called in contextual contexts, the essentially morphic idea predetermines the necessary conceptual images, forms and essences of ideas, which relate certain categorical features as follows:
c-a) the contextual format of a local place;
c-b) the contextual format of a local state or government;
c-c) the anthropological format of information in relation to being, that is:
c-c-a) wars and/or campaigns;
c-c-b) wars and/or chronicles;
c-c-c) state and political relationships;
c-c-d) and so on, which is tied to the socio-psychological, that is, essentially determined nature and which is close to the consciousness of life;

The world projection itself is an absolute conceptual form of reality, that is, it is objective in its phenomenon, but for the actual logic of its own phenomenon, it is in personal need for confirmation of the world around, it realizes external and internal observers in this same world-building contextual phenomenon, the world projection constantly seeks its own realization in the form of self-awareness through observers.

The interdine idea is such a formation of the world-projected idea that it does not belong to the absolute or minimal metaphysical ideological models or formations in the deentropic approach or the abstract-deus approach, combining the effects of the negative and positive sides in the harmonious necessity of the original divine creative essence of the original concepts and metaphysics.

it is also called persona-determination.

The sought-after idea of generating persons as external and internal observers of any phenomena in the world projection, or the personification of the universe, from its logical terminology as an idea, as well as a primitive rational judgment, is capable of uniting all possible characteristic qualities of all potential ideas and hierarchies in general within its contextual information, which are realized in their personal observations through personalities and characters as a whole; regardless of their subjectivity or objectivity as an observer at all, which generates duality begins to manifest itself as different forms for one idealistic format of the essence, which causes a large-scale difference in all ideas of the sought-after structure.

Philosophy of game plot

A representation is one of the forms of world formation and the projection of this world formation into the format of observation of such a subject; in this structure of the concept, a categorical feature is formed according to information completeness and general completeness, the derivative of which is the global and contextual definition of the information itself in this representation.

The same representation, in the context of world formation, and not the subjective framework of any external processes, is an objective framework for projecting real reality next to the subject, a form of information synchronicity of a pair of objects of the subject-environment systems, arising from one of the direct terminological connections.

The world as a phenomenon of representation is perceived as it is, that is, it does not realize any other external processes except for the process of representation of such: each subject in such a system, through its origin as an observer, represents the worldview and prospects as events and information provided by this very world, which is not unique in the context of any of the realities, but within the framework of a certain honored reality, this process compares the factor of realism with the factor of perceptibility of any necessary information, making this or that object real in the perception of the sensations of the perceiving subject.

Hence, the world is a fundamental representation of the actual reality, which is capable of conducting within itself the same multiple forms of representations of the same nature of objectivity in any of their formations and derivatives.

The world as a representation and the representation itself as a world are concepts that are distinguishable or unequal, in the general ontology of the perceptible, there is a world as a representation, this is the world as it is in its observed essence, and the representation is prepared as a definition of the form of perception of the projection of the world in this representation in relation to the essence and duration of this essence.

Hence, the plot is a form of its own projection of the world within the framework of an already existing representation, subjective in relation to the representation, which is determined by some specific framework within its own definition in the limitations of the representation. The subjective nature of the plot as an object of the phenomenon is assumed due to the nature of its quantity and reality, and the system of the phenomenon of the singularity of the representation and its world in the general system and the specific relativity of plots as hierarchies of the model in this same system of data.

The initial terminological space of the nature of the plot as such presupposes the existence or predisposition to the presence in the system of one or another form of observer and iterator in their contextual formations and definitions, similar to the system of representations, forming a codependency with the element of reviewing one's representations and plots in the form of one's subject.

This is only a small representation of the general global concept, due to the conjugation of which, logical errors may appear, to show a possible complete concept, the same possible reason, demand is necessary.

Ending

The sought-after publication has approached its end, in the future there are risks for future changes, revisions and updates on the material, and for now, in essence, everything has already been completed, we hope that the conjuncture of the original subject of the publication was completely covered and completed in full and the inherent desire to highlight gratitude not only to the reader, but in a full-fledged character to all publications, materials and others that are referred to and mentioned here, for the fact that they exist and inspired this.

perceive this block as therapy and a break after finishing reading the material, with a separate but constant aesthetics tete-a-tete, not only me and the reader himself, but also the game world.

In the afterword, of course, it is necessary to mention the expectation of some questions, reactions, suggestions, wishes and simply possible discussions of this publication, if necessary, the answers will be given directly and either in the form of a comment or in a personal format if it accompanies a dialogue of a private nature.

— edition dated 03/01/2025, original. estimated reading time: 0h 41min.