This cardinal would comprise steps of production, for constructing a submachine chamber that was far more complex in sense of influences since it incorporated the following concepts in sense of steps, it allows constructing a submachine chance encounter simulation with effects that are programed and initiated by recognizing the effects inside a setting where chance events are interpreted:
Definition:
Glyph
Lusion
Not
Meaning
Construction:
Code
Of
Substance:
Matter
Chem
Mendala
Deformation
Mass
Change:
Motion
Cause
Event
Time
If
Entities:
Monsters
People
Finish:
Pattern
Compaction
Thus these steps would construct a unique submachine chamber that contained multiple aspects associated with the nature of worlds, that allowed it to contain potential experiences when using it, since the components added up to a way to design a landscape of meaning, effects and encounter, that incorporated several different concepts Mazer and Dan had previously worked on. Thus this would allow them to better design a unique experience of coincidence and physicality, for the like.
It will be explained below, using an example that is made using the first portion, which creates unique meaning, in sense of novel, discovered distances of ideas, which are then incorporated into codes of, then translated to matter, pattern, chem, mendala, form, motion, cause, event and if to create the experience, which then incorporates monsters to allow more adventure. Which as a submachine chamber can then be used as an activated event of generated experience, associated with the information contained inside its pattern chamber block, which contains all this information.
These allow you to explore worlds of meaning, substance, change and entity.
The steps begin on the next page.
Definition:
The first thing you do is select meanings which will be the theme of the chamber as the essential meaning behind the created experience. For my selection I selected Fear, Dread, Beauty and Manipulation, which will be the chambers main components, in sense of what it will do.
Then I create several glyphs to create additional novel effects in sense of effects I've never experienced or meanings that are not as familiar, such that the chamber is more original, although this isn't necessary, but provides a way to incorporate something out of the ordinary.
Essentially, these glyphs represent small symbols that are visually interpreted for effects of physicality or meanings, but meanings that you've never considered before, which are not known, so create an experience of something entirely new, which we will apply with the lusions and the last meanings.
For example:
These are the effects explained:
Upclimbsteps: The steps of something that allow an upclimb.
Balanceoffkilt: The balancing in difficulty, with more difficulty.
Restbroken: The broken capacity to rest due to discomfort.
Truthcheck: The need to double check the truth of something.
These are essentially unique additional meanings that add extra effect, which are now incorperated with the previous meanings of Fear, Dread, Beauty and Manipulation inside a model that arranges these concepts into some kind of novel interaction, which represents the arising experiences of the chamber.
However, the meaning of this model is not imidiately known if desired, because you can further render it unique by using the Not, which is the concept of rejecting certain meaning forms of the arrangement to produce an interpretation thats less expected from the usual meaning you would interpret.
Although everything beyond the base meanings is simply a way to make the concept more unique.
Below is the model then it is explained, after stating that its not this, this or this, but this that it means.
Especially useful because you can use all four meanings of interaction instead of just one through what it isn't in each case compared to another that can be, that listing all four produces a complex theme.
However this model is on the next page:
This interaction is not the following things:
Dread and Fear surrounded by beauty manipulated.
Dread and Fear inside a beauty radiating manipulation.
A window of manipulation revealing beauty and body of fear and dread.
It is all the above and the following interaction:
A pill of dread and fear taken, at beauty in light of manipulation.
Thus the following four interactions above can occur inside the chamber as meanings of influence, meaning in the events and matter of the chamber that we create, dread and fear can be surrounded by beauty manipulated, dread and fear can be inside a beauty radiating manipulation, a window of manipulation revealing beauty and body of fear and dread can appear and a pill of dread and fear taken, at beauty in light of manipulation can happen.
Thus we have the idea for the chamber itself and what kinds of things may occur inside it. Keep in mind that a chamber is an uncertainty experience that arises from the meaning in a reaction that's never quite the same but always associates as an experience to the meaning of the chamber put into place as an effect, which is an occurrence as a chance influence in sense of resulting encounter. So the meanings above will reverberate in sense of encounter as something uncertain on each occasion associated.
It will do so because of both subconscious influence of inspiration, coincidental encounter and physical selection of space and observations as well as selected effects that are expected and noticed.
This concludes the definition portion that defines the basic inspiration for the chamber.
The next step is to describe the codes which will be used throughout the rest of the components on each occasion to help define the effects in question, but will also be based off this initial code and the of of the contents, which in all cases of steps following this for each portion of the effect done, we will plan and set up the basic idea with a code and an of set which will denote the effects in sense of behaviour, but not yet produced by the processes of the next steps after this, which these only denote what it does.
These codes and of of the chamber are based off the meanings of our interaction made prior, which we use as inspiration for constructing the other effects, of which these first two pieces are the basic keys for the rest of the program made, that represents the chambers behaviours constructed.
It is similar to coding a game where one makes the assets, but the assets are uncertainty potentials, which interact with the result in the encounter to create whatever shows up, but is associated.
Construction:
The of statements are essentially variables of value which represent the basic values inside the effect of the chamber, while the code represents the interactions that occur inside the causality and experience.
Thus we must first list the variables of the meanings we previously did, including the glyphs and the initial meanings, although the interaction meanings that are longer are code, which will incorporate the glyph meanings into them as equations of meaning, that represent effects. We write these in code because it is easier to describe the effects as codes then it is to fully detail the whole thing in normal language, the operators used are those in parsemy and the meaning is simply the meaning describing.
Thus we list first the variables in sense of of types, which in this case we use life, love, death and forget and habitant, but others can exist, then we write the code with the meanings, that describes the effects.
Life Fear
Life Dread
Love Beauty
Habitant Manipulation
Life Upclimbsteps
Death Balanceoffkilt
Death Restbroken
Forget Truthcheck
1((Dread + Fear).Balanceoffkilt)surrounded@beauty*manipulation(Upclimbsteps)
2(Dread + Fear)inside@beauty.radiating(Manipulation).restbroken
3Window:(Manipulation:beauty+body(Fear+Dread)*Truthcheck
4Take:(Fear+Dread).Balanceoffkilt@Beauty(Restbroken).in(Light:Manipulation(Upclimbsteps)
This code and set of variables describes the variables as they behave in sense of either being a continuity of being, an attraction of behaviour, a dwelling sense of something, a death as a change of situation and a forgotten as a sense of unknown. While the code incorporates the previous interactions listed, but adds the additional meanings to them, in sense of additional contexts that vary the meaning more, such that our four effects are described and represent the main meanings of our chamber.
These main meanings are numbered to later help refer the other codes to them in sense of shorter denoting, which helps keep the code shorter, although at the end we will compact it more so, because the code becomes more complex and not every portion of the program uses code in sense of meaning operations, rather it may use other forms of information denoting to describe the effect being used, although the code helps us program that effect in sense of intent before simply using the other form.
The effects that follow are effects associated with substance in sense of the appearances and behaviours of physicality regarding the chamber, such as its props, not the events inside it that follows it.
Substance:
The matter step regards the physical behavior of the variables specifically, which describes the actual behaviors of the meanings, not the code they interact as beyond what those meanings actually do. So we now describe the nature of the meanings previously selected, in sense of behaviors that they have, regarding the chance encounters and observations or expectations and actions we apply in association with these meanings and how they behave when encountering chance associated conditions in use.
Thus we must describe in codes beyond the variable specific the behavior, but to help explain what these variable codes mean, I will provide a model and explanation in normal English for each, which will describe a behavior of physics, that reflects what the meaning does, while its similar to the definitions I have previously stated, its actually more complex, because we study and program how the effects behave and can provide specific consequences to the parts associated that reflect the meaning.
These physics are either real, coincidental or artificial in sense of being actual effects, coincidental observations that follow them or artificial in sense of being pretended and acted out, this provides three directions of possible reaction for the actual physics of the meaning, which renders the consequence of the physics into the chamber, using these physics with the meanings that represent the codes previously made renders larger interactions between the physics of the variables and how they intermingle.
Thus I will now describe physical effects associated with the meanings we have listed, to produce a set of special effects of substance inside our chamber.
Fear:
Fear is a constancy in its life of an anxiety induced by appearances that associate to predators, ill, sharp death, dark and blood, while also often being a surprise, thus the sensation of anxiety and the appearance of things like sharp teeth, thin glowing eyes, claws, paleness, bones, damage, skinny, carcass, flesh, organs and blood are appearances that evoke a sense of fear. Which in sense of code here represents the effect it induces with inclusion of anxiety, since the sensation of the chem of anxiety that follows this section and the appearances of these specific features, creates the experience of fear. Thus to create the effect, one must simply seek and expect those appearances to exist in sense of presence in the chamber with anxiety as potentials and only in chance surprise of found uncertainty in the encounter.
Dread:
Dread is a sensation of rejection in the approach or encounter of something scary, which is induced from the way it moves and behaves, which associates with a desire not to encounter it and a pained sensation of rejection of the experience and terror associated explicitly with the motion, that is often shivering, darkened, wet, erratic, rambling, creepy, approaching, moaning, pained. Thus the rejection of the approach of with the motions of terror associated with these specific things, creates an encounter with a motion of behaviours in scene that are dreadful by their innate notations resembling the motions herein and having an applied or actual rejection of approach to them, in sense of property or reaction, of which the result is the same sensation of dread, from the motion and reaction.
Beauty:
Beauty is the observation of an attractive place, situation, object or person, which contains a large amount of splendor, shine, tranquility, awe as details that evoke a sense of positive sensations. So a thing of sense place, situation, object or person, in details of splendor, shine, tranquility and awe that evoke a positive sensation, creates an experience of beauty, which means in locating a position of thing regarding these features, reflects the sense of beauty in their states, which creates the physicality of that experience in the world around oneself, by actually being in its presence of scene.
Manipulation:
Manipulation is the change of something by something else that is intelligent, in sense of altering its behaviours and properties to something else but especially in sense of things that reflect means to achieve an end or purpose associated with meanings of cause and desires of possibility. Thus Manipulation is found in the change of something by something in sense intelligent in means of end or purpose of meaning in sense of property and behaviour. Thus a cause of encounter is required for the physics in sense of being an event and a causality, either by other or by yourself in sense of orient.
Upclimbsteps:
Upclimbsteps is the upwards climbing steps of action which must be risen through in sense of effort in the upwards direction, to induce the arrival at the top, it is constituted of steps and height, which regards the steps to reach the top and the amount of steps to reach the top, which represents in sense of either rising upwards physically, something rising upwards physically or a thinking in either parties sense that must rise upwards through several steps, so the potential for a requirement of rising in sense of space or thought is the property of this effect, which is even potentially both, so the effect is simple, but varied in sense of meaning associated with the effect, which changes how it arises. Thus the observation of a rise that must be climbed in sense of mind or matter is the property of this effect.
Balanceoffkilt:
Balanceoffkilt is the property of something's balance to be set off balance and also being in balance except within a potential of risk that sets it off balance, this can be in sense of mind, matter, cause or space and is always either the delicate of balance that may tip if set off kilt or something actually being set off kilt by an occurrence in the causality, so it renders as a balance and a cause that changes the balance of effect, which alters some constituent of the meaning in sense of its spaces, regarding the orientation of it, while also potentially causing breakage of some kind. Thus this encounter is a notation of an off balance or ill balanced thing, or the loss of balance of something.
Restbroken:
Restbroken is the property of being at rest being broken by some factor which inhibits the capacity to cease to move in sense of person walking, either by a sensation of discomfort regarding the area or an actual cause of need to continue and not rest in the area, because of this the effect induces a continuity of motion without cessation, as a death that inhibits ceasing to move in a direction. Thus the property is created when something either inhibits rest or the option to not rest is taken instead of resting.
Truthcheck:
Truthcheck is a property of uncertainty, regarding the validity of the observation or the minds idea in sense of either the mind or the observation inversely to check and estimate the validity of the notation, which means the notation must be in a condition of uncertainty regarding the nature of it and a confirmation must be achieved regarding the property in sense of validity. So it must occur as a cause and an uncertainty regarding its nature that is confirmed or rejected.
Thus the following codes reflect the variables nature from the above models:
Life Fear = anxiety@(predators, ill, sharp, flesh, organs, death, dark, blood) + surprise
Life Dread = rejection:approach@motion(shivering, darkened, wet, erratic, rambling, creepy, approaching, moaning, pained)
Love Beauty = observation:attraction(place, situation, object, person)+<(splendor, shine, tranquility, awe)@positive.sensation
Habitant Manipulation = change.of(?)@intelligent(Behavior, Property)@purpose
Life Upclimbsteps = Upwards(Steps)@effort(Mind, Matter)
Death Balanceoffkilt = (Balance: ill || off)->(Mind, Matter)
Death Restbroken = Rest ≠ true@point.by(discomfort, actual.cause)
Forget Truthcheck = Uncertainty.of(?)@truth+confirm
These provide the variable meanings with definitions that also feature actual physical description and behaviour which interact with the 4 interaction meanings to create potential results of association, since the chance events of the actual exploration of the chamber, plus the subconscious understanding of the chamber, plus the conscious understanding of the chamber, plus applications of actions in association with the chamber, in relation to chance events in the happening of the location which one is using the chamber in, one can in turn create through both the physics of the variables and the interactions of them in sense of coded meanings beyond the basic definitions, differing sorts of interpretative observation of matter or mind that reflect actual, assumed, coincidental or pattern effects that follow these physics.
However, to better help these effects be noticed as well as better constructing the sensation, one must make chems reflecting the visual meanings in the context and those of sensations, which in association as basic patterns of appearance help you recognize them in the scenery and also help you find them in sense of knowing what to look for as an appearance type, which can help plan location too.
A chem in this case is a simple small icon that depicts the appearance of the meaning in sense of physicality, which in practice is applied to the scenery to recognize similar patterns. However, art is also capable of depicting a feeling which can help create the ambience, so other chems represent sensations such as the ones that are above regarding feelings, that can be inspired in you by the appearance. Below are the chems with their basic ideas of depiction in sense colour and shape:
Thus we will create the following chems of appearance:
Fear : Fangs, Pale, Eyes, Claws, Bone, Flesh, Organs, Black, Blood, Flesh
Dread : Shivering, Darkened, Wet, Erratic, Rambling, Creepy, Approaching, Moaning, Pained
Beauty : Blue, White, Purple, Reflection, Sphere, Orange, Flower
And the following chems of sensations:
Anxiety : Green, Red, Erratic, Eroding
Rejection: Indigo, Red, Repulsive, Leaking
Splendor: Orange, Blue, Pink, Light, Diamond
Shine: White, Yellow, Bright, Reflect
Tranquility: Blue, Calm, Balanced, Light Blue
Awe : Pink, Radiating, Orange, Bright, Pulse
Positivity: Rising, Lightening, Yellow, Pale yellow.
The Chems in order of left to right, top to bottom equal to top to bottom are displayed above.
Chems provide a visual appearance and a sensation that can be applied inside the experience within the capacity to seek and observe the appearance in the patterns around you and observe and feel the sensation based on how the chem feels in sense of appearance, which can be either false or real, but which allows the experience to contain sensations of experience, which add to the immersion.
They act as Icons in the program which detail appearances and sensations of the experience.
While the code previous provides the meaning of encounter and the physics of its meanings.
Next we must create a way to notice things in the experience, in sense of being able to program the encounter with a method of noticing the scenery around us in a way that reveals details in sense of discovered objects and features associated with the mendala of observations noticed, that actually associates with the meanings we created.
Such that in the experience we encounter objects and scenery that associates and appears in relation to the actual meanings, which because our actual trajectory and location is uncertain and we don't know whats going to be there, we need to program a way to influence what will be noticed about the area based off the mendala glyph, that informs us insight on where to look and go in the scenery in sense of mendala notations of noticed appearances we find there.
However I should explain how this functions to better make it clear in sense of practice.
The mendala effect is a function of space memory, which associates to the observation of things and their memory of the observation that can also represent interaction with the observations, inside an observation their is noticed and forgotten data. This sense of observation and memory of space doesn't represent memory in sense of a person, but rather memory in sense of an object and its position and interaction with the space, which is applied to anything and not just yourself or a person, since memory and space memory are the same and represent the global memory of all things recorded as data.
That noticed data represents the data that is observed and the data that is not detected is forgotten, the data that is not detected constitutes all things possible and what is noticed represents what is noticed and observed about all things, while what is forgotten is not seen. However, because what is noticed can be forgotten and what is forgotten can be noticed, things inside the observation can change depending on what you notice, which is dependent on where you look. One can cease to notice something by not focusing on it in sense of existence and this induces the absence of the thing not noticed, while one can come to notice things about the world by seeking them out in observations.
While one can observe anything anywhere presuming they have noticed it and can encourage encounter with it using similar methods, which is the next topic, however, in sense of causation and navigation of an area, the mendala of unnoticed ranges that are not remembered is larger then the one that is noticed in the immediate, so more can fit in them then the smaller ones as unnoticed things in the immediate which is full of noticed things that distract you from the unnoticed. How you unnoticed something depends on how much you focus on something other then the noticed until you forget about it.
So unlike the next concept which requires you be open to the possibility of an unnoticed thing, in cases of things located amidst larger unnoticed ranges that are rarely observed, the mendala effect can arise features instantly inside the now noticed never noticed prior location, which can be observed suddenly present by actually looking into those unnoticed locations from where you are situated in a range and finding something that was never there before. However, this depends on finding the location where the meaning associated arose in the unnoticed. You must be able to find something that you haven't seen.
Thus pattern mendala glyphs help you navigate ranges of observation that lead to unnoticed locations.
Essentially we create a pattern operational glyph, which means a glyph that displays directional operations and shapes representing meanings, which equate to the meaning interactions of our code prior, this allows us to build a pattern that displays directions to travel in, directions to look in and associations with the meanings, which as an observation of the glyph in sense of using it to search pattern recognition with the meanings and operations, creates the encounter of those features.
Thus we will depict a glyph comprised of all meaning interactions we did prior, so we shall list first the interactions's and their operations, then we list the variables in sense of what the shapes mean as colours and shape and then we build the glyph from the whole thing. It is done in a picture below:
Life Fear
Life Dread
Love Beauty
Habitant Manipulation
Life Upclimbsteps
Death Balanceoffkilt
Death Restbroken
Forget Truthcheck
1((Dread + Fear).Balanceoffkilt)surrounded@beauty*manipulation(Upclimbsteps)
2(Dread + Fear)inside@beauty.radiating(Manipulation).restbroken
3Window:(Manipulation:beauty+body(Fear+Dread)*Truthcheck
4Take:(Fear+Dread).Balanceoffkilt@Beauty(Restbroken).in(Light:Manipulation(Upclimbsteps)
The mendala glyph represents something similar to a computer circuit in sense of appearance and its purpose is to network the navigation of space, help recall the meanings of the chamber and equally provide a mendala shift observation space in sense of inspiring the directions to look in while navigating the experience. However, it also serves the purpose of some aspects of deformation, which is the second level of complexity regarding the mendala effect, in sense of observing a pattern difference in matter like the mendala effect in space, but at a closer range. Typically as an unnoticed phenomena which arises in the usual setting by chance, which is intended and perhaps found.
Since the mendala effect allows you to notice patterns and features in space that occure inside the unnoticed range of reality around you in space, but doesn't allow you to notice things different about the space you do notice, because you recall that area of space, this secondary application however allows you to observe differences in the matter around you that you recognize as features that arise as unexpected behaviors or experience. You essentially apply the mendala glyph with additional intents regarding what kinds of things arise from the state of sensations regarding chems previous and the setup of intents that you expect to encounter in the setting as other things then what is present.
This state as a reminder depends on where you wish to recognize something in observation you focus on and what you need to forget about observation that you loose focus of to cause you to notice things that are hidden in the everyday that represent other details that might arise in the unnoticed but aren't essentially the behaviors of matter and substance or unnoticed details of scenery. You use the state to enter the capacity because the state of observation creates the meaning mass attraction that draws in the observation of effects occuring in reality but in the unexpected or noticed range typical.
This works because when you open yourself up to the possibility of something and enter a state of beleif in the concept you increase your odds of actually encountering it by simply beleiving it exists.
However, the actual effect can sometimes simply direct you to something in the area in front of you that is simply not noticed in sense of things right there and immediately easy to notice, that actually fits it as well, because the effect is somewhat unexpected and associated to the meaning, but is uncertainty so may arise recognitions that like much of this concept vary from occasion to occasion.
Because the concept is still not fully understood in complexity but presently does allow vivid details of change of notations that you can observe which inside the state created by a chamber in sense of using the chance event, pattern physical and acting narrative mindset as a basic state encourage plus the state of observing a deformation state in sense of allowing the whole experience of navigation to be deformed in its various details as you are passing in sense of meaning attraction that draws in sights.
Such that while you are also navigating to areas you haven't seen with the mendala glyphs directions its also the deformation intent of sought state that induces the same scenery and the new scenery to be noticeably fitting to the chamber that represents the whole state, which also features the code for it.
However, deformation also includes the capacity to create protophorms that associate with the deformation in sense of the states change of observation which are special effects that arise from the observations that you encounter and these are usually more prominently effective in the chamber then when you use protophorms in practice, because they arise unexpected ones associated with a coincidental encounter that arises from the meaning of the chamber and the state as effects in encounter. These protophorms are often far more vivid then the ones you can find typically because they are often natural and varied and associate with meaning, but can include beings.
For example if we created a ghost expectation of protophorms in sense of additional effects in the scenery that aren't scenery or objects but an appearance of some kind of additional feature, we may encounter the resemblance of a ghost protophorm during the chamber experience so long as we are open to the possibility of the like occurring much as all of this must be with open mind in state.
Unlike protophorms which are intended to be seen and appear as patterns seen in the static that have properties and behaviours that must be studied to use more effectively, the protophorms that occur during a submachine uncertainty simulation such as these are uncertainty protophorms that arise without actually designing them as natural but attracted encounters of the surroundings, this is why they are more effectively visible and sometimes far more unique.
But certain things may also appear as pareidolia patterns or other things and this is because the defined state changes that occur in the observation using the pattern, state of mind and the meaning of intent are intended but also unexpected because they arise from causality and the shift of observation into them.
However you can also use normal protophorms you design in sense of recognizing behaviours in the static of observation, which you can apply as effects you use yourself with intent. However since previous writings I have found that they are more easily understood from research in sense of experimentation and not simply construction, in sense of actually observing how they actually work.
But for the sake of this example, we will simply create some protophorms in sense of physical special effects that will arise on the experience as chances. In a prior test of the above glyph to see what I would find in deformation, I encountered a strange creature or like thing, that ran around and hid when I followed it to check if it was real and it moved around but could disappear when I looked at it. On another occasion I was minding my own time outside when I saw my ghost cat walk by and it was rather significantly more realistic then you'd think from just seeing things.
Sheenball = Ball.(Light+Shine)*Ripple
Spooks = Creepy/Beautiful(Apparitions)
Anxshocks = Sudden.Forming(Flashes)*Anxiety
The reason these state attracted protophorms are more effective then when experimenting with them in sense of your own effort is because they arise as natural byproducts of cause you aren't actually trying to produce but arose from the actual causes that you do not actually understand as sights you found.
Next we shall prep the Change steps with memetic mass attractions, which this entire concept also uses to provide events in sense of causality as an attracted actual causation which helps it manifest actual interesting things associated with the meanings, which while these things are uncertain and based off the meaning in sense of theme that is recurrent as a code for expectation, causation and insperation.
Since the chamber is an semi-uncertain and semi-predicted simulation space creating an experience, the attractions in sense of what is physically present in sense of ambience is a useful first step to the causation of events and the like. The ambience of mass attraction sets the overall implications of experience in sense of what kinds of events occur inside the chamber, beyond the meaning of the physicality that only represents physical features.
Thus we define what kind of ambience the chamber has by defining how the prior meaning's interactions interplay with causality in sense of the physical manner of change as a substance.
This is coded under the initial meanings as an additional code that informs the user and signifies the attraction of this kind of change in relation to the following motion, causes, time, event and if.
Thus it is an object of category for the attraction, in sense of narrative of nature regarding the changes, this narrative reflects not a linearity but still none the less a plot because it is uncertain, but the narrative without any direct planning represents a set of meanings that describe a setting beyond the physical meaning and the operations of them, that using the same context as the meanings which effect the physical and the narrative itself, effect as vague base contextualization the rest of the events.
Thus it is a contextualization, which is both attracted in sense of coincidence of causes and equally applied with the awareness of the mass attraction to create both narrative in sense of encounter and narrative in sense of interpretation of the encounter. While this narrative does not have to be a story depending on the use for the chamber, the narrative reflects its purpose beyond the physical interactions that reflect the actual matter and causes and the physicality that effects the encounter.
Thus we shall repeat a copy of all we've done so far in sense of code and add the contextualizing narrative at the bottom to be considered with the following steps in the next part.
Life Fear = anxiety@(predators, ill, sharp, flesh, organs, death, dark, blood) + surprise
Life Dread = rejection:approach@motion(shivering, darkened, wet, erratic, rambling, creepy, approaching, moaning, pained)
Love Beauty = observation:attraction(place, situation, object, person)+<(splendor, shine, tranquility, awe)@positive.sensation
Habitant Manipulation = change.of(?)@intelligent(Behavior, Property)@purpose
Life Upclimbsteps = Upwards(Steps)@effort(Mind, Matter)
Death Balanceoffkilt = (Balance: ill || off)->(Mind, Matter)
Death Restbroken = Rest ≠ true@point.by(discomfort, actual.cause)
Forget Truthcheck = Uncertainty.of(?)@truth+confirm
1((Dread + Fear).Balanceoffkilt)surrounded@beauty*manipulation(Upclimbsteps)
2(Dread + Fear)inside@beauty.radiating(Manipulation).restbroken
3Window:(Manipulation:beauty+body(Fear+Dread)*Truthcheck
4Take:(Fear+Dread).Balanceoffkilt@Beauty(Restbroken).in(Light:Manipulation(Upclimbsteps)
Narrative.Context(Mass): Fool@Beauty(Manipulation.(Fear+Dread)*Reward.Win(Solve)
Sheenball = Ball.(Light+Shine)*Ripple
Spooks = Creepy/Beautiful(Apparitions)
Anxshocks = Sudden.Forming(Flashes)*Anxiety
Thus the narrative is that the effect of exploring the chamber creates a fooling beauty but is a manipulation by something of fear and dread, of which the reward for solving the conflict is something in sense of result that you receive for performing this task, but we can further describe effects in sense of changes in the causality with the following steps in the next part.
Change:
Motions in the scenery as events of change relate to motion itself but depicted as objects of shape, which in relation to the observation of their causality in sense of recognition in the attraction of the simulation, one can find that the encounter contains motions that associate with the images depicted that encode the motion as part of the encounter and even the deformation.
These are essentially depictions of objects in sense of motions for every single frame at once, which can also include colour fade shifts to depict orientation, which allows them to be displayed on still imagery and used as a reference in sense of observation of the motion, so allows the encounter with the like simulation of definitions and their noticed variety by the result.
Thus we depict a motion containing the chem property we created that was related to the motion and another for additional examples sake, which depicts a more beautiful motion.
These motions happen as coincidental motions in the environment, which are part of its overall themes. They allow a difference of experience and noticed variety to the observation of events.
Next we use the idea of cause to design effects of causation in the chamber in sense of specific types of chance events that may also be acted out effects and aren't inherently events or physics but rather narrative aspects in sense of effects that occur as causes. We simply program these with code, which represents the idea of potential causalities in the chamber.
Spooks.inform(user):Problem.to(Solve)
Sheenball.appears@victory(Informs.reward)
Anxshocks.appear@(Realization.of:Problem)
Then we create an event or several in sense of narrative points of contextualization as observed story actions to provide context, which reflect events that are provided by mix of chance and acting them out as though the context in sense of inspiration from coincidence and interpretation of event concepts.
Such as:
Monsters.Try(Fool.user)of:Problem.in:Beauty(Appearance.moment)*Recognition.by(User)
Then we create the concept of time in the chamber, by describing an ordering of time and coincedence details with it, that describe the time by being timememe's of the coincidence implied context ordering.
We simply list an order of time code:
Beauty(Area.passing)->Spooks.appear->Passing.Monsters(Noticed)-> Solve -> Reward
Finishing up the change code, we can add if statements of conditionals to allow differences of variety within the changes of the chamber, which allow various uncertainty but case sensitives.
If: Encounter.Solution(Uncertain.User)=Solution.arise*Always.
This simply codes a measure of faith, which encourages the likelihood of always finding a solution, if the user is uncertain. Which acts as a conditional of effect ion.
Next we have the entity component, which adds information of recognition for the entities of the chamber, which while uncertain are none the less noted within certain patterns to recognize them.
Entity:
Thus we can add information as patterns of meaning and colour that inform us as randomized recognition. Which looks like a pareidolia pattern containing meanings that reflect the result. We do this for people and monsters, which we treat as encounters that simply exist as visuals for the narrative that is acted out inside a space without interaction except where reasonable to the conditions of everyday.
Since the encounters are simply effects in the range of observation. Although in cases of possibility you can react to the monsters with imagination or alteration in sense of physicality while similar in people you can acknowledge them in normal conversation or pretend in sense of false imagination, performing solutions for potential narrative in sense of pretense, but solving problems in sense of actual one can find.
These patterns encoded merely open you up to recognition and can consider real effects that might exist in encounter, but are randomized into patterns that might be noticed entities. Such as noticing a monster in the trees, which one can recognize by patterns in the pattern that associate with potential notice and types of forms potentially noticed. Which allows you to consider them in the encounter, these patterns may by considered in sense of solutions that associate with context of these patterns.
These contexts are created in sense of conditions that one can resolve with them and these conditions don't have to be physical encounter, for example on an occasion I saw a bubble and concluded a witch had made it to poison the people, so then I saw the witch as a random noticed person that resembled her and then I went home and cast a spell to undo the bubbles, which rendered an experience but not an actual effect that wasn't appropriate, similar to how bowser in mario is never defeated next time where he has returned again with another plan. Which in another occasion happens to be another noticed pattern that might not even be the same person.
This pattern allows you to get an idea of what to look for in sense of pareidolia patterns for the generated simulation, which uses this pattern to insight an observation of associated recognition. This lets you set up recognition's which inspire or associate to the pattern described.
Once you have finished programming the entire chamber, you then make a pattern that depicts its entire features with the code adjacent, to allow a chamber which has its programming set up. This finishes the chamber with a pattern that helps recognize the entire experience, by simply depicting it symbolically. But that depictions is up to you and the code has already been shown so this instruction is finished.
However, beyond the steps we shared others exist that provide other effects that one can program.
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