Mirror Lost Shards Patch

[Yahaira Petrov]

Inthe center of Pannithor, the massive Infant Sea divides the continents. Born of the melting ice at the end of the Winter War, the Infant Sea rushed in to drown the lands of men with terrifying rapidity. Much of the civilised world was lost to the briny depths during this catastrophic event. As the years marched ever forward, most of what was known about these lands fell from living memory.

Today, the Infant Sea is home to all manner of merchant ships, naval fleets, opportunistic pirates, and treacherous sea monsters. Trade routes crisscross the sea, linking together the cities and lands that surround it, but to sail these waters is not something to be done lightly.

And yet, rumors have begun to surface across Pannithor, carried far and wide as if by a strong ocean breeze. Boasted by drunken sailors in dingy taverns, spoken in hushed tones in the houses of nobility, and reported in confidence by military commanders, the rumors tell of a curious island spotted in the heart of the Infant Sea. Valundar.

Once under the dominion of the Republic of Primovantor, Valundar was one of the many islands consumed by the sea. Precious little knowledge about Valundar has survived, but what remains is reason enough to catch the attention of every denizen across Pannithor.

According to the history books, the isle of Valundar is where Elinathora bade her servants to hide the shards of the Fenulian Mirror. With the power to illuminate the past and divine the future, the Fenulian Mirror was responsible for the demise of the Celestians and ushered in an era of unparalleled misery.

Could the rumors be true? What could have prompted a long-forgotten island to arise? If the wrong creature were to collect the shards and reassemble the Fenulian Mirror, who knows what havoc they could provoke. On the other hand, could the ancient artifact be the key to restoring peace, balance, and order to the world?

The campaign is set in the lost isle of Valundar and lasts for a series of ten turns. During each turn, players will have the opportunity to move their army on the map however they see fit, engage in a battle against an enemy army they come in contact with, and interact with the environment.

The objective of the campaign is to collect as many shards of the Fenulian Mirror as possible by the end of the tenth turn. There is no strict player minimum/maximum, but four to six seems to be the ideal amount. In addition, one person will need to serve as the Games Master and will organize the campaign rather than participate in it.

I tweaked and retooled several aspects of the campaign throughout the years, but it has not been specifically updated for 3rd Edition. That being said, it is still entirely possible to play through the campaign as written. The only change that would need to be made is with the scenarios for some of the map tiles, as they are based on the 2019 Clash of Kings supplement and not the 3rd Edition rulebook.

The rules for the campaign can be found right here on the -/28 website under the Resources tab. The purpose of this article is simply to draw attention to that fact and hopefully inspire some more gamers to give it a try. If you have any comments, questions, or constructive criticism, please send them my way!

This is a game that combines match-3 and visual novel elements. You will enter the magical world of the Mirror and experience love and hate.

It is said that there is a magic mirror, which link the destines of many.

If you have it, you will be able to dive into the world of the beauties and experience this magnificent journey.

There is the dark elf, who was born in a noble family but has a rebellious nature, she enjoys bring the fairness and justice to people by robbing the rich and help the poor.

There is the shrine maiden, who keeps Kyoto in peace will serve the Gods for her whole life.

There is the jiangshi girl, who was sealed thousand years ago, would she find the long lost love?

There is prodigy of Taoism, who looks cool but how will his life be?

There is the dragon maiden, who grew up in a family of dragon riders. Will she accept fate or deny it?

There is the Shikigami, who was a spirit. Will it protect its master with life?

Game Characteristics:

Combines match-3 and AVG elements.

Traditional match-3 game mechanism, use skill gems to change the battle.

Unique gems that have different effects. Be sure to equip the right items and skills before you head on to your journey.

How the story goes is choice-based so your choices will ultimately decide the characters' fate. All endings have exquisite CGs and BGMs that you will never forget.

The way this newsletter normally works, I write a sort of mini-essay here, sharing some reflections that I hope will help you to find these poems as meaningful and as vital as I do. But sometimes my love and awe for a poem makes it hard to think of anything to say, beyond: Wow, I really love this poem.

So why do I love this poem? I love it because it makes both intelligible and beautiful a psycho-spiritual experience of fundamental rupture, and of the need to make that rupture whole, with the twinned certainty that this is a need I can never fulfill. This poem gives me language for my experience, which is to say: it makes me legible to myself.

August 12 \u2014 tomorrow, as I send this out\u2014 marks the anniversary of the so-called Night of the Murdered Poets. On this date in 1952, Stalin\u2019s destruction of Jewish culture culminated in the execution of 13 Soviet Jewish leaders. After years of imprisonment and torture, these 13 men and women were killed on false charges of espionage and treason.

To commemorate this dark anniversary, I shared a poem last year by Peretz Markish, one of that night\u2019s murdered writers, and I\u2019ll return to him again today, with one of his better-known poems, a true favorite of my own. I won\u2019t rehash the biographical background from that post, except to reiterate that a young Markish had great hair \u2014 he\u2019s in the center of this 1922 photo, leaning against the table:

The picture above shows the men behind Di Khalyastre, \u201CThe Gang,\u201D an avant-garde interwar Yiddish journal in Warsaw. Some of its publications were illustrated by Marc Chagall, like this cool cover page:

I want to be explicit that, when we talk about this kind of state-sponsored genocidal violence, \u201Chistory doesn\u2019t repeat itself, but it rhymes,\u201D as the saying goes. In 1952, at the age of 57, Markish, a Ukrainian-born poet, was murdered by Stalin; a few weeks ago, the Ukrainian poet Victoria Amelina was murdered by Putin\u2019s genocidal war machine. It\u2019s easy to commemorate the past\u2019s atrocities, but harder to acknowledge the ways that those atrocities continue.

Before we get to our poem, I\u2019m excited to announce the next Zoom discussion, for paying subscribers. On Tuesday, 8/29, at 7:00 pm EST, we\u2019ll meet to explore the ways that Yiddish poets presented and responded to American anti-black racism and white supremacy. How did Yiddish poets in America, mostly left-leaning immigrants from Europe, use their verse as a way of reacting against the racial violence they encountered here? It\u2019ll be a fascinating program that I\u2019m really looking forward to, and all paying subscribers will get a zoom link.

What an incredible image for the agonizing sense of self-estrangement, of inner collapse, of psychic dispersal, that modernity brings. The poet looks inside himself and sees that his heart \u201Chas fallen like a mirror on a stone.\u201D What\u2019s left of his spiritual life, of the mirror that once enabled him to see himself clearly? Just jagged shards scattered across the world.

This is one of those times. But can\u2019t love be a helpful hermeneutic in itself? I\u2019ve been sitting here, trying to come up with something smart to say, when perhaps \u201CI love this poem\u201D is the most honest response I can give, and \u201Clet me try to say why\u201D is the most helpful commentary.

The great Russian modernist Marina Tsvetaeva wrote in her diary: \\\"my difficulty (in writing poems\u2014and perhaps other people's difficulty in understanding them) is in the impossibility of my goal, for example, of using words to express a moan: ah\u2014ah\u2014ah.\u201D (This is Ilya Kaminsky\u2019s translation of the Russian.) This is a helpful description of what poetry can do \u2014 or, given the impossibility Tsvetaeva identifies, of what poetry can\u2019t do, but does anyway.

When I read much of Markish\u2019s poetry, and this poem in particular, I find the great moan, the inarticulate sense of spiritual homelessness, that I feel as a modern Jew and a modern person, expressed in ways I couldn\u2019t have imagined or anticipated. I know I\u2019m not alone in this. Towards the beginning of Ulysses, the character Stephen Dedalus, a sort of stand-in for James Joyce, watches a dog exploring the beach. The \u201Cdog ambled about a bank of dwindling sand, trotting, sniffing on all sides. Looking for something lost in a past life.\u201D

Stephen Dedalus, James Joyce, Peretz Markish, me, maybe you \u2014 we\u2019re sniffing around, looking for something that we lost before we were born. Markish\u2019s metaphor for this existential experience is the broken mirror that he knows he can never make whole, even as he must keep trying, with bleeding fingers. Or really we should say that Markish uses two metaphors, layered on top of each other: the first is his heart, and the second is the shattered mirror his heart has become. There is the inner integrity he is looking for, and the broken pieces it leaves behind. And then the compulsion to restore them, the impossible compulsion.

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