#v13
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In every mainline Fallout game except for New Vegas, players can earn the loyalty of a dog known as “Dogmeat.” As part of the main quest of Fallout 4, Dogmeat assists in tracking down the antagonist, even if the player has never encountered him before. When you leave Kellogg’s home, Nick simply starts talking about Dogmeat as if he’s a known quantity.
Perhaps related to this quirk of the world, Dogmeat is first named in this game when the clairvoyant Mama Murphy recognizes him and addresses him by name. The game’s UI calls him “DOG” until he is recognized by Valentine or Murphy. It seems clear that this german shepherd is somehow an independent agent with a good reputation, or something.
Dogmeat does not have a loyalty quest associated with him, which is how the player would earn the other companions’ perks. However, upon finding Astoundingly Awesome Tales #9 within the Institute, Dogmeat becomes more resistant to damage. While this isn’t coherent or conclusive evidence of Dogmeat being a synth, it’s plainly prompting the audience to consider that idea. In light of these factors, his origins have been fiercely debated among the community.
The skeptics and “hard sci-fi” fans out there would have you believe that he’s merely a famous stray dog who solves crimes. But I believe there's something more remarkable at work.
There's a section in the Fallout 2 instruction book called the Vault Dweller's Memoirs, where the player character of the first game recounts what canonically happened. Due to Fallout’s famously terrible companion AI, if you travelled to Mariposa with Dogmeat, he would consistently run into the force fields and get vaporized. So, in the Memoirs, we learn that this is exactly what became of Dogmeat Prime, in canon. He loyally sprinted into a wall of solid light, and disappeared. What if our buddy simply awoke in a new, confusing place?
In Fallout 2, Dogmeat must be found at the Cafe of Broken Dreams, which is explicitly a liminal space. It appears randomly to travellers in the desert. The NPCs within are frozen in time, such as a young version of President Tandi, who mentions that Ian went to “the Abbey,” an area cut from the game. To gain Dogmeat’s trust, the Chosen One must equip the Vault Dweller’s V-13 jumpsuit, which Dogmeat recognizes as belonging to his dead master. You can also attack him to spawn Mad Max, who claims ownership of the dog. Max fits the description of Dogmeat's original owner given in Fallout.
There’s also the “puppies” perk in Fallout 3, which enables you to restore Dogmeat, in the event of his death. “Dogmeat’s puppy” inherits his base and ref ids. In other words, they ARE the same NPC, just renamed. So, the way this actually articulates is that whenever Dogmeat dies in combat, you can find him waiting for you back at Vault 101. In practice, it’s almost Bombadilian.
Lastly, please consider the following developer context.
In June of 2021, the dog who performed Dogmeat’s motion capture and voice for Fallout 4 passed away. A statue of her was placed outside of every Vault in the China-exclusive sequel to Fallout Shelter. She still watches over each player.
River's owner, developer Joel Burgess, honored her in a brief thread about her involvement in the game, and shared much about his thought process and design goals while leading the character’s development. The Dogmeat project changed course early on, after Mr. Joel saw a new member of the art team gathering references of snarling German Shepherds. This motivated him to bring River into the studio, so the artists and developers could spend time with her.
He wanted to steer the team away from viewing Dogmeat as a weapon, and towards viewing him as a friend. Everything special about Dogmeat was inspired by River. For example, whenever you travel with Dogmeat, he’s constantly running ahead of you to scout for danger, then turning to wait for you. This was inspired by River’s consistent behavior on long walks.
The only way they were able to motivate River to bark for recordings was by separating her from Joel while he waited in the next room.
Reading the thread, it’s very clear that he hoped Dogmeat would make players feel safe, encouraging them to explore, and to wonder. In his closing thoughts, he said the following:
-Joel Burgess
Mr. Joel felt it was important to express that the ambiguity of Dogmeat’s origin in Fallout 4 was deliberately built into his presentation. He also felt it was important that you know Dogmeat loves you. Dogmeat was designed, on every level, to reflect the audience’s inspirations, and to empower their curiosity.
The true lore of Dogmeat is a rorschach test. The only “right” answer is to pursue whatever captures your imagination.
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"V13", de Emmanuel Carrere en la Línea C
#carrere#v13#emmanuel carrere#bataclan#paris#buenos aires#argentina#bookpila#pila de libros#booklover#booklovers#leyendo#women reading#reading#currently reading#reading in public#subte#subway#underground#booktok#book tok#book toker#books on tumblr#books & coffee#books & tea#books & candles#escritores
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No tenemos la impresión de que ese fondo del fondo sea tan profundo. No es un abismo dostoievskiano de donde manaría el aliento de un infierno. Nos sorprenden más bien la ligereza, la inconsistencia de este muchacho, que ha participado en la matanza de 131 personas, pero al que todo el mundo describe como un buen chico, y quizá lo sea.
— Emmanuel Carrère, «El fondo del fondo» en V13. Crónica judicial. Traducción de Jaime Zulaika.
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What's New in Lightroom v13.0
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New Post has been published on https://themesnulled.us/tecnologia-v1-3-it-services-app-development/
Tecnologia v1.3 - IT Services & App Development
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hello! i stumbled across your blog very recently and am curious as to what the tag v13 means- sorry if you’ve answered this before, i’m on mobile!
fallout is based on wasteland. wasteland is based on a canticle for liebowitz. a canticle for liebowitz is about catholics bickering about fiction in the dust of america for hundreds and hundreds of years. it is about religion and the concept of a dark age
VAULT 13: A GURPS Post-Nuclear Adventure was the ip's name in the conceptual phase. the very first VAULT 13 worldbuilding pitch doc--a timeline--spoke of a Dark God, a term deployed throughout Fallout but only contextualized in the fallout bible, which does not actually use the term. Laura has a special voiced line just for Tell Me About: Dark,God: "The what?"
Project V-13 was interplay's original Fallout Online, which was cancelled by the publisher bethesda like fifteen years ago now.
pylon v-13 is a location at the end of Fallout 76's map where a character from Project V-13 built a time portal and disappeared. it is the most cursed location in the game
by accepting its premise, we arrive at v13 lore, the rejection of canon in light of canonical time travel and multiverse, which has always been a thing, and is also literally a joke. it's the realization that fallout is defined by creativity, interpretation, expression, and argument. it is the understanding that non-canon lore and controversial lore are basic and vital pieces of the history of the setting. and it's the begrudging admission that fallout is a cultural legend, irreplaceable and beyond anyone's control. fallout makes sense to everyone and demands our imagination. it always will
enabled by all the most hated and rejected lore, my characters are time-travelling supervillains who know the things i know, and scour the wastelands endlessly to expand their knowledge. this diegetic headspace and cosmology is a lens i use to explore the concepts of conspiracy theory, paranormal thought, religion, and occultism, all of which i am deeply critical of. i have learned a lot about these matters because i was able to fully engage with them in the context of fallout.
also the talking deathclaws lived in vault 13 and the courier carries the vault 13 canteen. there's also some esoteric shit about 13 high priests, 13 ghouls, and 13 landmarks. it's a pretty specific throughline. it's there if you're mad enough to look for it. and we'll never really know what it means if anything
thats what it means. to me
another thing i always say is. any setting where humans don't see ghosts is a strange fantasy. humans have always seen ghosts. don't mean ghosts are real. just means folks see ghosts. and at some point you gotta talk about it
hope this isnt complete nonsense
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in case you didn't see what happened with this
i was retracing the monorail path recently, and thought when i encountered this that it was simply a one-off glitch, but it was apparently a full bug error they needed to patch out. at the time i was making so many incoherent v13 noises, jokingly thinking 'oh man what if this was on purpose' 🤣
#fallout 76#fallout 76 bugs#fallout 76 screenshots#v13#v-13#v 13#pylon v13#pylon v-13#fallout 76 glitches
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The Heartbeeps in V13!
“Cum Together” LP out now!
“Bordeaux, France’s HEARTBEEPS have emerged from the ashes of TV KILLERS (Estrus Records / Dead Beat Records) for a punkarolla orgy with current and ex-members of Swindlers, Wild Zeros and Holeshots, and their debut Cum Together LP is a megabash of adrenaline-charged, twin-guitar crunch recorded in imperfectly hissy analog, where steamrollin’, stolen riffs drill through frantic garage-based punk rock.”
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"V13", de Emmanuel Carrere
#v13#carrere#emmanuel carrere#libros#book#books#lectores#men reading#currently reading#anagrama#escritores#leer#premio herralde#writing#creative writing#bataclan#instabooks#amo leer#buenos aires#argentina#bookpic#bookriot#bookporn#booklovers#more books#more books please#books & boys#boys reading
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El video dura 17 minutos y es propaganda. Quizá me equivoque, pero me parece que esta clase de propaganda [difundida por el Estado islámico, donde los «nueve leones del califato» se entrenaban decapitando prisioneros] me parece totalmente inédita. Por espantoso que sea lo que encubre, la propaganda habitual, hoy en día, exhibe el rostro de la virtud. Desfilando, jóvenes de mirada clara se encaminan hacia un porvenir radiante. La propaganda nazi no mostraba Auschwitz, la estalinista no mostraba el gulag, la de los Jemeres Rojos no mostraba el centro de torturas S.21. Normalmente, la propaganda oculta el horror. Aquí lo exhibe. El Estado islámico no dice: es la guerra, tenemos el triste deber de cometer actos horribles para que el bien triunfe. No, reivindica el sadismo. Para convertir, utiliza el sadismo, lo exhibe, permite ser sádico.
— Emmanuel Carrère, «Gran fractura facial» en V13. Crónica judicial. Traducción de Jaime Zulaika.
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V13 - Analisi e considerazioni
V13 è l’ultimo libro di Emmanuel Carrère riguardo i fatti terroristici del 13 novembre 2015 avvenuti a Parigi. In quella giornata vennero colpiti il Bataclan, lo Stade de France e un bistrot e gli attentati hanno causato centotrenta morti e oltre trecentocinquanta feriti.
Carrère ha seguito il processo e il libro è diviso in tre parti: Le vittime, Gli imputati, La corte.
Carrère
Carrère è un autore famosissimo francese che ha un modo di scrivere libri particolare: preferisce raccontare personaggi realmente esistiti e fatti di cronaca rispetto a storie originali.
Uno dei suoi maggiori successi è stato “L’avversario”, di cui ho parlato proprio in questo blog.
Ha un modo di scrivere molto personale: spesso nei suoi libri c’è lui in prima persona che racconta l’impatto delle vicende che racconta con la sua persona.
Lo stile è sempre asciutto, pulitissimo, non c’è mai una parola fuori posto.
Le sue riflessioni, chiamiamole filosofiche, non sono sempre originali o degne di nota; i suoi libri forniscono però ottime basi per ulteriori riflessioni personali.
Dilemma riguardo V13
Prima dell’acquisto e poi a lettura iniziata, sono stato invaso da un dilemma non nuovo ma, in questo caso, molto urgente: perché sto leggendo questo libro? Voglio crogiolarmi nella cronaca del dolore altrui? Che cosa sto cercando?
È un dilemma che ho vissuto anche in un periodo in cui seguivo moltissimo il true crime. Sono appassionato di true crime per le storie umane che ci sono dietro; come le persone prendono decisioni, quali incentivi le muove, quali background familiari hanno generato “mostri” o “vittime”.
Ma in questo caso l’asticella è molto più alta. Tutta la prima parte del libro è dedicata al racconto dei sopravvissuti. Madri, padri, amici e amiche; gente con arti amputati o che ha vissuto un terrore inspiegabile; gente che si è suicidata a causa della devastazione emotiva, gente che è diventata disabile, gente che ha perso tutto. Mi sembrava una galleria dell’orrore in cui assistevo come se fossi allo zoo, per sollazzo.
Il dilemma non l’ho mai risolto e continuo a sentirmi fuori posto e sporco a pensarci, ma dopo la prima parte il libro cambia registro, ci sono le parti dedicate ai carnefici e al processo in sé, e la lettura si alleggerisce.
In definitiva, è un ottimo libro che non consiglio. Non “serve”.
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