Multiverse Entertainment, the studio behind VR sci-fi shooter Seeking Dawn (2018), recently announced their 10+ hour title is due for a “huge content” update, which is said to arrive sometime before the game makes its way to PSVR.
The team initially released plans for the update via a Steam forum post, which mention things such as bug fixes and adjustments to gameplay mechanics that should make the game more fun. Here’s the relevant bits from the Multiverse’s post:
Since yesterday’s launch of Seeking Dawn, we have received tons of constructive feedback, suggestions and good wishes from our passionate community.
There are also technical issues and bug reports that we value equally. We’d like to take the time to thank each and every one of you for using your precious time to provide us with important information so we can continue to improve Seeking Dawn.
Our mission to develop one of the best VR games is not yet finished. But thanks to your undying support, we are more encouraged than ever before.
We sincerely apologize to every player who is having technical issues at the moment. We have located several issues that require immediate attention, such as crashes, stutters, and blurry graphics. Our dev team is working night and day to fix these issues.
Also, we are making some adjustments to gameplay mechanics to make Seeking Dawn even more fun!
We will release a more detailed roadmap along with plans for new content soon. Stay tuned for some exciting announcements!
Seeking Dawn isn’t the perfect, full-length VR game many were hoping for; in our review, we gave it a middling [6.5/10] points for its inclusion of some pretty grating game mechanics, such as its overemphasis on repetitive resource collection, and its gutless item crafting and base building mechanic. These issues notwithstanding, Seeking Dawn has accomplished some important feats in graphical fidelity, and also features an interesting variability of enemy types that should keep you not only in awe of the world around you, but on your toes for some of the bigger, badder enemies out there.
In a statement obtained by VRFocus, CEO Freeman Fan says the studio has “huge content and upgrade plans,” which should release closer to the launch of the PSVR version. At the time of this writing, the game’s PSVR launch date is still TBA.
“On top of any bug-fixes, we’re working on a plan to include 5 more hours of playable story, a weapon-leveling system, new alien beasts to challenge, and texture improvements to Seeking Dawn’s already stellar visuals,” Freeman said.
We’ll be keeping an eye on further Seeking Dawn updates, so check back soon.
The 70th Annual Emmy Awards are nearly here, and the nomination list is out. Seven pieces of VR content have made the cut, including big names such as Rick And Morty: Virtual Rick-ality (2017),Coco VR (2017), Blade Runner 2049: Memory Lab (2017), and Spider-Man Homecoming VR Experience(2017) to name a few.
VR games, experiences and 360 video have found their way into two categories in particular—’Outstanding Original Interactive Program’ and ‘Outstanding Creative Achievement In Interactive Media Within A Scripted Program’.
The list below highlights VR content represented in both categories. Check out the full list here, which includes all other nominees.
The Emmy Awards will air live on NBC Monday, September 17th at 8PM ET (local time here). Without further ado, here’s all the VR content in the running.
Outstanding Original Interactive Program
Back To The Moon (YouTube 360, Rift, Vive)
Created by: Google Spotlight Stories, Karen Dufilho (Executive Producer), Jan Pinkava (Executive Producer), Fx Goby (Director), Google, Nexus Studios
Blade Runner 2049: Memory Lab (Rift, Go, Gear VR)
Created by: Magnopus, Alcon Interactive, LLC, Oculus
Coco VR (Rift)
Created by: Magnopus, Disney, Pixar, Oculus
NASA JPL: Cassini’s Grand Finale (YouTube 360)
Created by: NASA Jet Propulsion Laboratory
Spider-Man Homecoming VR Experience (PSVR)
Created by: Create VR, Sony Pictures Virtual Reality
Outstanding Creative Achievement In Interactive Media Within A Scripted Program
Rick And Morty: Virtual Rick-ality (Rift, Vive, PSVR)
Created by: Adult Swim Games, Owlchemy Labs, Other Ocean Interactive. Rick and Morty Creative Team
Silicon Valley: Interactive World: Not Hotdog, VR & Twitter-Powered Pizza Drones (VR on Rift, Vive)
Panic Button Games, the studio responsible for the PSVR port of Electric Hat’s To The Top (2017), are working on bringing popular underwater survival game Subnautica (2018) to PlayStation 4. Although both Steam and Oculus Store versions of the game support VR, PS4 users won’t be so lucky; Unknown Worlds, the game’s original developers, say it probably won’t ever come to PSVR.
Announced via a PS blogpost recently, the impressively polished deep-sea survival game is slated to launch on PS4 this holiday season. Critically missing in the announcement was any mention of PSVR support.
Unknown Worlds addressed the lack of PSVR support in a statement on their blog, and gave a brief but candid look at the challenges of squeezing the game to fit the headset’s inherent graphical limitations:
Subnautica is coming to PlayStation 4, woot! Will it support PS4 Virtual Reality (VR)? This is a tricky question. The short answer is: Probably not.
The long answer is: We haven’t made any decisions about PSVR. However, the performance challenges of stuffing Subnautica onto console are already daunting. In this context, ‘performance’ means how fast the game runs, or how many ‘Frames Per Second’ (FPS) we can achieve.
High frame rates are crucial for VR. We are already battling hard achieve stable, consistent FPS above 30 on consoles, and VR requires 60+. Perhaps in the future, once we have achieved strong performance on PS4, we could revisit the question. But for now, it’s safe to assume PSVR is not on the horizon.
We’re sorry for any disappointment that causes, but we are also thankful for your feedback. After all, it was all your requests for a PS4 version that led to yesterday’s announcement. So keep telling us what you want!
Throughout its early access period, Subnautica included a ‘VR mode’ to go along with its primary support for traditional monitors.
Some of the reason why it won’t be hitting PSVR could also lie in the game’s implementation of its ‘VR mode’ in the first place, as it seems to be a pretty divisive issue among PC VR users. Although it holds a 94% positive rating on Steam (primarily containing reviews of the monitor version), many VR users cite the game’s playability in-headset. Major complaints cite frustrating controls, illegible in-game text, and overall comfort issues as concerns, which currently has it sitting at a middling 3.7/5 stars on the Oculus Store.
At any rate, it’s a shame we probably won’t be seeing Subnautica on PSVR anytime soon (or ever), as the 20+ hour main story and overall visual polish are really something VR users are craving.
Beat Saber, the acclaimed VR rhythm game, is soon to get a special version, Beat Saber Arcade, which will offer officially sanctioned use of the game in out-of-home VR arcades.
Despite Beat Saber’s seamingly perfect fit for VR arcades—thanks to its ease of understanding and quick fun—developer Beat Games hasn’t yet offered a means of commercial licensing for the game, which would give VR arcade operators the rights to offer the game to their customers.
Today the company announced that Beat Saber Arcade will be released in “a few weeks,” and further said they had planned to offer commercial licensing from the beginning but that the small indie team has been stretched working on the forthcoming level editor and the PSVR version of the game.
“We couldn’t be more grateful for the positive response from the Beat Saber community and hope you find our delay to make earlier arcade announcements more a reflection of our commitment to quality than anything else,” the company writes.
The studio says they’ll release more details soon as to when and where Beat Saber Arcade will be available.
While the existing version of Beat Saber is already a good fit for VR arcades, we expect the arcade version will use local leaderboards by default, and possibly have some additional customizations to enhance the game for the arcade setting.
Hype train passengers, all aboard: set to arrive on Rift in two weeks, Oculus today announced a two more playable heroes coming to Marvel Powers United VR’s super human lineup. This time it’s Guardians of the Galaxy’s Gamora and Star-Lord.
First revealed at Disney D23 fan expo in summer of last year, Marvel Powers United VR is a co-op VR game created by Marvel Games, Sanzaru Games, and Oculus Studios. Featuring co-op missions, you use each superhero’s unique powers in online multiplayer, revisiting some of the familiar Marvel locations made famous in films past.
There are still six more playable characters left in the 18-character lineup, which so far includes Gamora, Star-lord, Hawkeye, Black Widow, Black Panther, Captain Marvel, The Hulk, Rocket Raccoon, Deadpool, Black Bolt, Crystal, and Thor.
Marvel Powers United VR is slated to launch exclusively on Rift July 26th. Pre-orders are now open here, with the game priced at $40.
Check out the quick teaser Oculus posted a quick teaser on their blog:
We went hands-on with Marvel Powers United VR back during an Oculus event that was simultaneously timed with Disney’s D23. Check it out here in the meantime to learn more about the nitty gritty of what makes the game tick.
Seeking Dawn (2018) is a sci-fi first-person shooter which puts you in the boots of a space marine who’s assigned to carry out a search and rescue mission on a mysterious alien planet. Including a single player campaign, and online co-op which lets you and your friends or strangers team up, Seeking Dawn promises a full-feature game with multiple hours of gameplay, however this results in only just enough incentive to keep you hunting around for that last uranium rock to spend on that OP rocket launcher you’ve had your eye on.
Developer: Multiverse Available On: Steam (HTC Vive, Oculus Rift, PC), PSVR (TBA) Reviewed On: Oculus Rift, Tested on HTC Vive Release Date: July 12th, 2018
Note to the reader (July 11th, 2018): I wasn’t able to get into an online match during my time with Seeking Dawn, so I’ll be posting an update once the game goes live and multiplayer servers are up and running.
Gameplay
As a soldier of the First Centauri Republic (FCR), you’re after the missing Major Walker and his team who were sent to the alien planet to find what promises to be a powerful key to put an end to the ongoing war with the Alpha Centauri Commonwealth (ACC), a new nemesis in the 24th century universe of expanding human influence over the stars. The story is your standard sci-fi shooter fare, so don’t expect much more than a SyFy ‘B’ movie script and voice talent. While it can be cringey at times, it’s mostly an innocuous pretense to the alien-ganking action.
Like a jack of all trades, Seeking Dawn carries with it a longer than usual list of features for VR games currently: single player and online multiplayer co-op, resource gathering, weapon & equipment crafting, base construction, and survival elements that require you to stay properly fed, watered and full of appropriate ammo types throughout the game.
Image courtesy Multiverse
Shooting is a simple experience. All guns have a projected aiming reticle that requires no need for lining up the sights and aiming down the barrel. All guns are single-handed, so you can choose to go dual auto-pistols, or even dual rocket launchers if you have the material. Simply grip to reload, or wait for the last spent cartridge to exit the gun.
Basic crafting materials are found in a number of ways; everything you destroy drops something valuable to the overall goal of building guns, armor, mini construction factories, ammo – everything has its price. Enemies drop meat, and crafting items like collagen which are used in construction. Trees, which you explode with your handy Woodchucker, give a few types of wood and health-restoring berries. Dedicated mineral deposits, which you can explode with your Excabreaker, give out a number of minerals that are important to crafting guns and other non-lethal tools. Your Woodchucker and Excabreaker are invaluable, as you use them up the very end of the game to harvest resources.
A tree ready to explode, Image captured by Road to VR
That said, there are no tech trees, or upgrade systems—what you see is what you get, and you’ll predictably abandon about half of the 5-6 total guns as you encounter more powerful enemies like high-level ACC soldiers. In the later quarter of the game, I found myself using the rocket launcher almost exclusively, as it provides infinite ammo and does around 400 HP damage; this felt a bit cheaty, as I would launch a barrage of rockets at a wall where I suspected enemies to be, and hit points would magically register. For a game that boasts crafting as a big feature, I was expecting a lot more variability in that department. Once you get the hang of clearing an area of minerals and trees, crafting really just becomes a timed hurdle to obtaining any specific weapon (eg: a big boss is coming up, and surprise surprise, I see my first deposit of uranium – something required for a level item.)
Crafting guns and tools, Image captured by Road to VR
In short, weapon and tool crafting is fun to begin with, but soon becomes a dull chore with expected rewards handed down at important intervals in the game, making it essentially a monolithic loot chest with tedious extra steps in between.
To manage all of your weapons and tools on the go, you’re given what I consider a basically good and functional inventory system. A button press brings up a ring with a limited number of slots, and by selecting the weapon or health item, you equip it in either your left or right hand to be used. Because of how often you use the Woodchucker and Excabreaker though, I would have much rather preferred a hotbutton to quickly switch between guns and tools for quicker harvesting and battle readiness. A larger inventory, which is best consulted when out of harm’s way, lets you swap out items into your quick inventory.
Full inventory, Image captured by Road to VR
Enemies are varied enough to keep things interesting. Regular enemies include flying bug-types, massive tanks, fast tiger-like aliens, hopping scavengers, and ACC soldiers of various abilities. While you can count the number of bosses on two or three fingers, they always prove to be extremely tough—which when compared to the crappy little baddies running around, make for a clear ramping of difficulty. To beat the mid-game boss, I struggled for over an hour to scavenge wood to create enough bullets to take him down. Only near the end did I feel like the difficulty plateaued to an even pace.
Image courtesy Multiverse
The game includes a single prefabricated base, and that’s where the part of the game forces you to throw some resources at building turrets during specific times (no random attacks). But even skimping on turrets and using my own two hands proved to be a fairly simple.
Image captured by Road to VR
Like with crafting, this is a moment when I wish the feature set could really lived up to my expectations instead of being a couple of wave-based defense missions. I wanted to build out my base and have to worry about defending them from savage alien beasts, but instead I was given a voice over prompt from my omnipresent Captain Coleman for the games few base defense missions.
My personal gameplay time was 11 hours, which is about half as long as the studio says it should take. I’ll admit I was using the fastest possible way to get from point A to point B: walking at max speed with automatic running, which I’ll talk about in the Comfort section below.
Immersion
Immersion is a bit of a mixed bag in Seeking Dawn.
Every once in a while you’re treated to real moments of awe, as you round a bend and find yourself staring at an enormous mushroom swarming with neon jellyfish, or what I can only describe as a skyscraper-sized alien Brontosaurus who curiously casts a look in your direction from what seems like a mile away. There are a few giant baddies out there too that will have you fearing the long trudge back to the start of the level if you forgot to set a teleporter node. The set pieces and level design are definitely highlights in Seeking Dawn.
Image captured by Road to VR
The game’s visuals are certainly a cut above many, but I do have a few healthy niggles. Smaller geometry like plants and ammo boxes pop in after only a short radius, and faraway textures can look muddy at times even on high settings (low is decidedly much more messy). Several times I’ve wandered into a level to find it barren of enemies, only to hear the drumming beat of the fight music piped into my ears as creatures pop out of nowhere. This only puts a slight damper on the overall effect: a varied, iridescent world that transmits an eerie beauty across several biomes. Dank cave systems open up to underground crystal structures, pulsing alien trees loaded with glowing fruit, and even a few hellish underbellies littered with bones and rotting corpses, and some with burping volcanoes and dizzying heights.
Let’s make no bones about it: Seeking Dawn is very much a game that relies on some traditional gaming shorthand that’s oftentimes more concerned with delivering an efficient way of traveling, killing enemies, building structures, etc, than giving you a 1:1 experience of crash landing on an alien planet.
Hit counters let you know when you’ve landed a critical hit on an enemy, and big white numbers pop up above their head to tell you what it’s worth. This is convenient, and maybe even forgivable for a sci-fi shooter game, but it still feels like I’m playing a game, with all the regular traditional conventions attached.
Image captured by Road to VR
Object interaction is carried out via ‘force powers’, meaning you need to hit a single button to quickly collect crafting items, even ones out of your arm’s reach. This is much more comfortable than having to pick up the thousands of items, but it does come at the cost of hand presence. Once an item is locked on, you can’t let go until you reinsert it into your inventory, or swap it for something else.
Comfort
Seeking Dawn offers a bevy of locomotion choices suited for most people: head and hand-relative forward locomotion, smooth turning, snap-turning, ‘blink’ teleportation (driving a ghost of yourself until you reach your desired teleport destination) and of course room-scale locomotion, although there’s not much of a reason to move around your room outside of the standing position. You can also play seated, although you’ll be ‘seated’ in the game as well. There is brief exception during climbing portions of the game, where handholds may be out of your reach.
One other locomotion style rounds out the bunch. There’s also a ‘swinging your arms to run’ mode which turned out not to be as fun or comfortable as I’d hoped, as it introduces artificial head-bob. This in general is something most VR developers stay away from because of the associated nausea, although it seems the arm-swinging did help mitigate this some. Instead, I opted to use head-relative walking with an automatic run option which lets you pick up speed gradually.
The Netherlands-based Craft Game Studio is bringing Crooked Waters, a multiplayer pirate ship game for HTC Vive and Oculus Rift, to Steam Early access this week.
Pitting would-be pirates in a four vs. four battle on the high seas, the goal of Crooked Waters is to sink the other ship. While it sounds simple, cooperation here is the ultimate key to success; players will have to work in concert by navigating the ship it by steering, adjusting the sails to get optimal speed, and loading, aiming and firing cannons at the enemy.
Image courtesy Craft Game Studio
You’ll be able to join up with a randomly selected crew, or invite your friends to join in the battle. A tavern below deck gives you a chance to strategize, play mini-games, or just toss back a few pints of grog while you wait for a match to start.
Image courtesy Craft Game Studio
Craft Game Studio has put special emphasis on the game’s many locomotion schemes, which includes free locomotion, snap-turn, arm-swinging locomotion, and a climbing mechanic that lets you climb the mast to adjust sails and get a better vantage point.
The game is online multiplayer-only, although the developers say this is an issue they’ll keep this in mind while developing the Crooked Waters throughout its Early Access period on Steam; the game is slated to hit Steam on July 13th.
Japanese VR studio MyDearest and Los Angeles-based Sekai Project launched a Kickstarter campaign last month to fund the development of a new VR manga game. Dubbed TOKYO CHRONOS, the VR visual novel game is now one step closer to coming to users of HTC Vive, Oculus Rift, PSVR, and Oculus Go.
Update (August 22nd, 2018): Tokyo Chronos has blasted past their $75,000 funding goal, with $90,625 in total. The campaign reached their funding goal only last week.
The article detailing the Kickstarter follows below:
Original Article (July 10th, 2018): Lead by Kazuma Miki, a producer behind VR-centric anime series Sword Art Online (2012), TOKYO CHRONOS is said to offer users a VR visual novel mystery adventure that blends visual animation with a comic book-style UI.
The story follows 16 year-old protagonist Kyosuke Sakurai (voiced by Yuto Uemura); one day Kyosuke finds himself in the “Chronos World”, a deserted Shibuya frozen in time.
Image courtesy MyDearest Inc, Sekai Project
According to press release obtained by Anime News Network, the narrative involves “8 childhood friends separated from the reality of this world, and trapped in an empty Shibuya, barren of any other souls.”
The statement continues:
“As time and space seemingly comes to a halt, the eight begin to disappear, one by one. What has happened to this world? What is happening to the ones trapped inside this hollow void? Who is the culprit that set the mystery in motion in a space that stands still.”
TOKYO CHRONOS’ director Haruki Kashiwakura previously created 3D graphics for anime such as Rakuen Tsuihō – Expelled from Paradise (2015), Mobile Suit Gundam AGE (2011), and Blassreiter (2005).
MyDearest is a Tokyo-based VR developer specializing in adventure games. Established in 2016, the company has already released several titles including the interactive manga Innocent Forest (2017) and Innocent Forest 2 (2017) for Oculus Rift and mobile VR platforms Oculus Go and Gear VR.
The creators are targeting a funding goal of $75,000, and are estimating a February 2019 delivery date of digital keys. The lowest ‘Early Bird’ funding tier of $30 gives users access to either a Steam code (Rift, Vive) or PSN code (PSVR).
A little while back, Oculus issued a $15 credit to many Rift users after an issue which prevented the headsets from working for a day or two. Seeking out something worthy to drop this credit on, I scrolled through the store pages I stumbled upon Luna (2017). The game’s unique artwork had me intrigued. After looking further, I realized I had heard of it months prior, but it slipped off my radar. Once I took a look at the preview, the combination of artwork, soundtrack, and relaxing vibe sold me.
The majority of my time in VR has been spent in fast paced action or sports games, and while I’ve really enjoyed all of those experiences, Luna—which is also available on Steam where it can also be played without a headset—proved to me that you don’t need a fast paced game for a really enjoyable time in VR. As I played through, Luna also struck me as the perfect introduction to VR for those who aren’t serious gamers. The relaxed feel and mechanics make it easy for someone new to get used to moving and functioning in a virtual world.
The overall goal of Luna is to complete puzzles and restore the world to the condition it once was. When you arrive in Luna you meet a little bird that is lacking color. A few cutscenes play out then you find yourself before a snowglobe-like dome which tasks you with a simple musical interaction puzzle.
After completing the musical puzzle you are transported to the sky for a simple shape-based puzzle where you rearrange stars to create specific constellation shapes. As each puzzle is solved, new objects are added to the dome, and on completion of all of the constellation puzzles the dome transforms and the musical interaction is gone and you are placed before a newly generated dome in which you can place items that you obtained earlier. Each item is customizable and allows you to create your own customized dome. The items comprise different plant life to help restore the landscape within the dome. There are also little secrets within each level such as starting a fire or some hidden critters to find. The level of detail and the unique art style makes the game incredibly charming.
Image courtesy Funomena
Tapping objects to generate sound, maneuvering the stars, placing objects, and petting your little bird friend all feel great. The interactions are all easy to complete and the game is responsive. At first, I thought the puzzles and musical interactions would get a bit monotonous, but later domes add additional complexities that keep the game entertaining yet peaceful.
This is why I could see this game being very accessible for entry level VR users. The simple interactions and the reward at the completion of each vignette are engaging yet not overly stressful, and don’t rely much much on traditional gaming skill or design tropes. I also would not expect people to get motion sick at this game since it runs very well, moves at your own pace, and generally keeps the player in one place throughout. The overall chill vibe makes each vignette accessible and easy to work with. It also gives a good breaking points if someone needs to take a moment to gather themselves; if you take off the headset you can reload into the next vignette or wherever you left off without worrying about save states or the like.
The freedom of creativity in the game also feels great in VR. The way you can place the little items in the dome wherever you like, change their color, and change their size makes it feel like the player has good control over what the end product looks like. I was able to place items wherever I wanted and it gave me this burst of creativity in trying to make what in my eyes was a beautiful landscape. It felt whimsical in a way other VR games often don’t.
The simplicity of the interactions also lends itself to being accessible to people who don’t typically play videogames, let alone VR. Everything is simply explained and the puzzle difficulty ramps up at a pace that it wouldn’t be out of the question for someone who isn’t an experienced gamer. It was also helpful that the positioning of the domes could be adjusted to whatever height was needed. At one point my legs got tired from standing so I ended up sitting on my beanbag chair on my floor. By pressing in the thumbsticks on my controllers the vignette I was working with dropped to my level and I was able to continue generating my own little worlds while sitting comfortably on my floor. Thus, I could see this game being accessible to younger children, or even older adults who can’t stand for long periods of time. I could easily see handing this off to my mother (who hasn’t played games in a few years) and her still really enjoying the experience.
Image courtesy Funomena
It’s worth reiterating the game’s beautiful look. The art style is very unique and feels different from other VR games that I have played. It seems to have design elements of a stop motion film and each character and element is carefully crafted in homage to that style. Each time the vignette progresses to a cutscene it is beautifully rendered in VR and the interactions between the elements of each are wonderful. Overall, the color scheme has a muted but rich look to it, but each color fits wonderfully and looks fantastic as you pick your colors and place your elements about the world. The music also lends to the overall vibe as a soothing and creative game. Tapping the musical interactions to open up the constellation puzzles feels very satisfying and the music does not feel discordent even if the interactions do not match up perfectly with the background music. Aesthetically this game is incredibly relaxing and beautiful to look at and interact with.
When I stumbled upon Luna, I was looking for something relaxing, but I didn’t expect to really enjoy this game as much as I have. Even though I had played through all of the vignettes I plan to go back and see if I missed any secrets hidden within the levels that I have beaten and to create new beautiful little biospheres to engage with. I want to interact with my little bird friend again and see all of his pals come to life in the gorgeous vignettes again. Lovingly rendered scenes and soothing music make it a perfect game to sit down and chill out to after an overwhelming week.
Stifled (2017) originally launched last year as a PSVR exclusive, but now Singaporean studio Gattai Games is bringing the echolocation-based horror game to Rift, Vive, and PC next week.
As the protagonist David Ridley, you’re suddenly stricken blind, making the world around you dark—well, not exactly. You’re given the ability to use sound to see brief illuminations of the world around you. Using the onboard mic, you use your voice (or optional button press) to ‘see’ the world, but also inevitably attract the attention of horrifying creatures that lurk everywhere, hunting you through dank caves and all sorts of creepy destinations.
Stifled is coming July 10th, and will be available on Rift, Vive and PC through Steam, Humble, Itch.io, GreenManGaming and Razer Game Store, and for Rift on the Oculus Store.
We haven’t had a chance to review the PSVR version, although our initial hands-on last year revealed the game to be an intense way of managing sight and sound – not knowing if you should alert a baddy for the sake of getting out of an area alive. Some features like running water and ringing phones help you as waypoints along the way, but it’s really up to you to decide when and how to escape the ever present danger lurking around every corner.
