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It actually makes sense as a strategy to try and trick someone into coming out of hiding because they think you've found them out. These are by far some of the most beautiful backgrounds we've had so far. Kurapika Kicking Tonpa was so satisfying I don't think Gon is going to like his new haircut Hmm, nani. Well fuck you too HxH On a serious note, Leorio kinda sucks in combat. I feel like he's going to become less and less useful as the story goes on given this is a battle shonen which is a bit unfortunate, though it makes sense that Leorio would end up as the least liked of the group with this as the case. No memes, reaction images, restricted content, etc 5. Post meta comments in the monthly megathread. 8. Answered question removal 9. Capacity: 36GB. RPM: 10k RPM. Martcom was founded in 1993. We initially concentrated on providing solutions to trade, in particularly in the areas of networking and storage. EUR 87. 6 From United Kingdom EUR 11.

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Therefore, if Filling in the Gaps: “Shell” Playable Characters 247 “shell” characters were seen as avatars, it is possible that players would not bother to uncover who the characters really are, viewing them simply as representations of themselves. However, in INSIDE my initial impression of the boy as generic and thus “blank” soon changed when I realised that he seemed to have a backstory as suggested by hints in the game. Due to these hints, the player-character relationship I formed with the boy became not one of seeing him as “me” within the game-world (as an avatar), but rather, as one in which I was guiding this boy with an unknown backstory through the game. At the same time, “shell” characters seem to imply a (hidden) rich backstory for the player to discover, suggesting they could also potentially be experienced as “rich” characters. Similarly, for “shell” characters, the playable character’s identity is a combination of hints and gaps left within the game and the player’s interpretation of this information. However, this is not the most important difference. A “shell” character truly moves away from being a “rich” character when the player realizes the true nature of the player’s role within the game. In INSIDE, for example, the positioning of the “player” behind the laboratory screen implies that the player has a separate role within the game, perhaps as a scientist monitoring the boy. In Emporium, the strangeness of how the player chooses the boy’s responses to the old man and yet the old man talks about the boy in third-person, as if having a conversation directly with the player, seems to suggest a disembodied role for the player instead of playing as the boy. Therefore, with a “shell” playable character, players are encouraged to view the character as more than a “puppet” or avatar they control in the game, but instead as a character in its own right that the player cares about. However, at the same time, the “shell” character is not a “rich” character, as details are left for the player to ? l in with their own unique interpretations. The playable character is thus not just an extension of the player herself. Instead, the player feels herself to be a separate entity within the game, one with no real influence over the game world due to her position of being outside the game-world and in front of a computer. References 1.

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