Vivid Stasis

[Miss Ruhnke]

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vivid/stasis is a rhythm-mystery hybrid game that follows the fates of four girls as they get wrapped up in a mind-bending adventure involving organizations, mysterious disappearances, and the fourth dimension. The game ties together an ongoing interweaving storyline with varying levels of music-based gameplay.

In the rhythm game section of vivid/stasis, you'll find yourself facing various levels of difficulty, with many options for customizability to play the game your way. Casual rhythm gamer just here to enjoy the story? Hardcore VSRG legend looking to find a new kind of challenge? There's a good chance you'll find it here! Between "Opening", "Middle", "Finale", and the extra-spicy "Encore" difficulty, players will be sure to find something fun for their skill level no matter their prior experience with rhythm games.

Unlike other traditional vertical-scrolling rhythm games, vivid/stasis introduces the concept of "Bumper Notes"; notes that take up two lanes. These notes can be hit with either of the keys assigned to the lanes it falls under, giving the game a unique playability with strictly four keys, despite the six types of possible notes.

The song list of vivid/stasis features well-known and prominent artists in the music game scene (Tanchiky, Camellia, Silentroom), but also shines light on a fair amount of lesser known producers in the scene.

And so, she decides to look into it herself. Alongside her friends, Allison and Kotomi, Saturday hopes to uncover the secret behind her sister's strange disappearance... and isn't quite ready for what she discovers.

Note: This Early Access game is not complete and may or may not change further. If you are not excited to play this game in its current state, then youshould wait to see if the game progresses further in development. Learn more

The story in vivid/stasis covers the following topics that some may preferred to be warned about beforehand:

- Characters frequently swear both in text messages and out loud with other characters

- One character's ending covers themes of unreality, and poor mental health

- The game makes use of its status as a video game as a tool for its story

- Some story content covers themes of survivors' guilt, grief and mourning

- Depending on player choice, one character has a chance of dying during the story

Please note that the game may not feature all of these elements at the time of playing. These warnings apply to the full story, which will not be complete until the game is no longer in Early Access.

Gameplay in vivid/stasis takes place on a track split into four lanes. Notes approach from the top of the screen and fall towards the judgement line at the bottom of the screen. There are three note types: Tap notes, Hold notes, and Bumper notes. Tap notes need to be tapped when they hit the judgement line. Hold notes need to be tapped when the head reaches the judgement line, then held down until the tail reaches the judgement line. Bumper notes function similarly to Tap notes, but occupy two lanes, either both left hand or both right hand lanes, and can be tapped on either lane they occupy.

When hitting/missing a note, the result will be one of five judgements, A. Critical, Critical, Great, Good, or Failed, depending on how accurately timed the hit was. A note will also result in Failed if the note wasn't hit at all. Each judgement will award a certain amount of accuracy and points.

Tap notes are the only notes capable of giving all possible judgements. Bumpers can only give A. Critical and Failed, while Hold notes cannot give Critical or Great. See the note below the table for details.

Hold notes will give at least two judgements: An A. Crit for hitting the head of the hold, and either an A. Crit if the hold is held down until the tail reaches the judgement line, or a Good if the hold is let go of early. Failing to hit the head will instead award two Failed judgements.

In addition, a hold note can have more judgements at periodic intervals that only require the hold is being held down at that time, giving an A. Crit if it is, or a Failed if it isn't.

There are two scoring systems used in vivid/stasis: Game score and Accuracy score. Game score gives a fixed amount of points for each judgement, while Accuracy score gives a number of points dependent on how many notes are in the chart as a whole.

When completing a song, the player is taken to the results screen. Here, they are shown a a detailed breakdown of their performance, including their Game score, Accuracy score, Judgment breakdown, Earnings, and a grade based on their Accuracy score.

The challenge gauge is a mechanic that appears when using any Decrypt Style other than Basic, in Course Mode, or during a boss song unlock. This gauge will start at 100%, and reaching 0% will cause the player to fail the song on the spot. The gauge will decrease upon Miss judgements, but any other judgements will cause it to increase. The specific amount the gauge rises and falls depends on the circumstance the gauge appears or the Decrypt Style being used.

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Does Saturday Tasogare from vivid/stasis have a Ryu Number? I think that she will qualify for one (presumably a standard one ) when the Rhythm Doctor collab drops, but I don't know if she qualifies for one right now

this isn't associated with anything that i'm working on! i just kinda wanted to make this for the fun of it, and this has definitely became one of my best artworks

you should play vivid/stasis btw, it's completely free on steam

You will need at least 2 GB of free disk space to install vivid/stasis. By contrast, the game developers recommend somewhere around 8 GB of free disk space on your system drive. vivid/stasis system requirements state that you will need at least 4 GB of RAM. If possible, make sure your have 8 GB of RAM in order to run vivid/stasis to its full potential. To play vivid/stasis you will need a minimum CPU equivalent to an Intel Core i5-12400T. Provided that you have at least a modern graphics card graphics card you can play the game.

Looking for an upgrade? Try our easy to use vivid/stasis set up guides to find the best cards. Filter for vivid/stasis graphics card comparison and CPU compare. We'll help you find the best deal for the right gear to run the game.

How many FPS will I get on vivid/stasis? An FPS Monitor is the first step in understanding how the parts in your gaming PC are actually performing in real-world conditions. It's the perfect way to track vivid/stasis FPS drops and stutters.

Download our free FPS Monitor via Overwolf to count your frame rates as you play, and test how tweaks to your settings can boost FPS and increase vivid/stasis performance. Our app is compatible with hundreds of the best PC games and available now.

VINCENT SHERRY Hectic Stasis: The War Poetry of Keith Douglas Since his death in 1944, Keith Douglas's reputation as a poet has grown considerably, but fitfully. Largely disregarded for his imaginative daring by the Movement writers, he appealed to poets a half-generation younger than himself, who found in him a stark vitality, a counterforce to what was, for them, the drably mechanical verse being written in the 19508. Ted Hughes hailed Douglas's 'burning exploratory freshness of mind'; Geoffrey Hill praised a 'fearlessness of the imagination.' Yet Hill's assessment in 1964 of Douglas's ambivalent stature - 'at once "established" and overlooked'1 - remains relevant today. 'Established,' one might say, and 'avoided,' for it is the particular ability of Douglas'S art to disconcert. The best of the war poems exhibit a coolness, a bracing diffidence and restraint. The sort of stoic verve that Yeats captures in his 'Irish Airman' Douglas can match in the icy bravura of 'How to Kill': Now in my dial of glass appears the soldier who is going to die. He smiles, and moves about in ways his mother knows, habits of his. The wires touch his face: I cry NOW. Death, like a familiar, hears and look, has made a man of dust of a man of flesh.2 Some readers may relegate such composure to the tight-lipped insensitivity of the officers' mess;3 others may find his insouciance a powerful coadjutor to the brutalities it records. Yet the combination of realistic violence and emotional composure strikes me as the mark of Douglas'S special achievement as a war poet. A pictorial as well as stylistic discipline informs his best poems; recognizing these components enables one not only to appreciate the verse, but to assess its complex effects and understand its place within the tradition of modern war poetry. Alamein to Zem Zem, Douglas'S diary-memoir of his experience in the North Africa desert campaign, is often a vivid narrative of combat action. UNIVERSITY OF TORONTO QUARTERLY, VOLUME 58, NUMBER 2, WINTER 1988/9 296 VINCENT SHERRY However, most ofhis war poems offer post-combat settings. The dead are the figures in his warscapes. Yet these tableaux are as if alive; the dead are usually arrested in the gestures of life, and of life at its most intense in the instant of its extinction. The picture of a frantic mortuary is Douglas's visual signature, as in 'Landscape with Figures 2': On scrub and sand the dead men wriggle in their dowdy clothes. They are mimes who express silence and futile aims enacting this prone and motionless struggle at a queer angle to the scenery crawling on the boards of the stage like walls deaf to the one who opens his mouth and calls silently. (CP, 103, emphases added) There is a kind of hectic stasis here; suspended in their frenzy, the figures are at once antic and grave. Similar images appear in 'Cairo Jag,' a post-combat scene glimpsed from the imaginative distance of the Egyptian city: '" you can imagine the dead themselves, their boots, clothes and possessions clinging to the ground... (CP, 97, emphases added) These scenes reveal more than a casually pictorial quality. Behind them lies the specific influence and model of Aubrey Beardsley, above all the graphic work he exhibited in the Yellow Book. Douglas wrote an essay on the Yellow Book in 1940 for the Oxford magazine the Cherwell. It is a revealing irony here that Douglas scolds a Beardsley who has 'postured away his life';4 Douglas is himself posturing in this piece, putting on an adult probity that must censor the English 'decadents.' For Douglas is engaged far more deeply and imaginatively by the vivid particulars of Beardsley's art than by its moral issues. Indeed, as prelude to the double effects in his own warscapes, he appreciates the rival qualities of the florid and statuesque in the drawings. He observes these opposing traits in consecutive perceptions, however, not yet as a simultaneity in the art. First he notes the hectic whorl: 'The decadents who produced the Yellow Book became entangled in their own complications, as the eye is entangled by the involved...

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