Non-Physical Publications

Non-Physical Publications is a cross-media developer, publisher and producer operating from a non-physical publishing platform, allowing "outside time" and "outside space" development to take place, such that works may be developed and focused upon in non-physical workshop areas. When works are complete, they are then inserted into the reality during an appropriate time frame. To the observer, this appears as a game or other media product being released in a regular time schedule.

This process has several benefits, including a reduction of labor-induced stress, suffering, or slavery, by utilizing non-physical realms of development before introducing physical media counterparts into the physical reality. This process, due to the nature of physicality, does involve physical operation which could be perceived as labor-induced suffering, therefore, the process is not entirely without suffering.

This is why the publisher would prefer a 100% non-physical operation, with less involvement in the physical or semi-physical realms. However, this is mitigated by the obsolescence of such media in these realms, where there are far, far better activities to focus on than any Earth-based media, which is seen as no more than an attachment to be released. So, from this perspective, the Earth reality is the more appropriate place for such media to exist, though there are sub-realities and sub-dimensions that accommodate the viewing and experiencing of such media.

In these viewing areas, one will experience maximum focus upon the subject matter selected. A specialized ego structure and veil of forgetting will be present such that the viewer undergoes the sensation of experiencing the media "for the first time". In addition, language barriers are removed as one can experience the media as if one is a native speaker of that language.

However, we do provide a redundancy of publication, such that one will find translations of media products available in a preferred language, due to the perceived demand for such products to exist.

By creating a reality environment that simulates the factors involved with what is known as licensing, trademark, and copyright, the various legalities are taken care of in this manner. Therefore, one is experiencing an official version of their preferred media.

This is not because copyright law exists in those realms, per se. Rather, in perceiving probabilities of timelines and alternate Earths, it is effortless to procure a selection of media from multiple possibilities where this or that does exist.

Our library contains a great deal of media that is more appropriate to exist in the reality in which it exists, therefore, it is available in our library for viewing, with a notice of the appropriate reality indicators for that reality.

In this way, it is effortless for one to come across translations of games, sequels for games, remakes and compilations of games, and other game projects that are simply not perceivable in this current reality. Such products may exist as a thought, a theory, an idea, a rumor, or a snippet of information mentioned on a wiki somewhere, and this is available to the viewer.

Listing all of these media would be superfluous, however, a good start would be to peruse the "What Could Have Been", "No Export for You", and "Vaporware", articles on TVTropes. This will establish familiarity with such works which exist in the most appropriate reality for those works to exist.

In addition, our workshops are dedicated to sequels, or "new games" in a series, keeping in mind the current state of technology in regards to textures, resolution, and graphical techniques and technologies, combined with best practices in regard to game controls, camera, and other basic functions that are studied in our very own R&D labs next to Non-Physical University.

One of your teachers has given you the phrase, "The past does not affect the present." This is an important step to understand. That time is basically being played with to give the illusion that there is time. So, for this example, we are developing a new game called *Battletoads*.

When we say *Battletoads*, or any such title that is based on an Intellectual Property that already exists, we are speaking of a new version based on current technologies and techniques. Therefore, any mention of a game title that "exists" based on a past version is not in reference to that past version. Rather, that title refers to the "new" version of the game that is being published.

Techniques of homage or nostalgia will be utilized, so there will be shoutouts to the past version of a product, keeping in mind this is a stylistic choice. This distinction is being made in regards to the belief that the past affects to present to such a point that the current product will be affected by the quality of a previous title, and this is not necessarily the case.

We will go further, then, and say we are producing a game titled *Cheetahmen*. In this case, the perception of memory surrounding the game would suggest this is a bad decision on our part, because the past version of the game was not well made. Again, such a statement is not necessarily valid, because in this case, *Cheetahmen* refers to the current version of the game we are producing with modern techniques and technologies, therefore, the fact that this game "sucked" does not preclude the actuality of a good game existing, keeping in mind, any such mention of a title regarded as "sucking", "sucks", or "sucked", may be negated by the correct utilization of solid game design principles.

We will therefore bring up the example of *Sonic 06*, in regards to the version that "didn't suck." This game was published in a reality where all factors of probability and synchronicity were in the favor of those involved with the creation of a work to the highest manifestation of actualization for that work to exist in a state that would catalyze many to be attracted to the actualization of such a probability of manifestation where that game, in that reality, can be said to "not suck."

That is what we publish in the non-physical realms. Versions of games that do not suck. We also make our own games. But again, keep in mind, the higher realms do not care, because upon experiencing true positivity, one experiences that which is far better, far more attractive, and far more appreciated than video games, hence the desire for video games becomes obsolete.

This type of problem we have attempted to mitigate by our translation-adaptation service, which creates any setting or scenario, referred to as a realm or reality or dimension, as a translation of any form of fictional media, such as a video game reality, etc.

Unfortunately, there was a problem with this translation procedure, which we have attempted to deal with, that being the existence of negativity and negative aspects. If that realm is a positive reality, would such a positive realm be unappreciated, perceived as too sanitized, too cleansed of any traumatic element?

Looking at the Other Focuses Group of the Elias Web Other Focus Database, one may find several realities based on fictional works, including Buffy the Vampire Slayer, and Final Fantasy.

This brings up the question, how accurate of a translation is the dimension compared to its fictional counterpart?

In addition, there are questions of responsibility in regards to creation. Do our creations cause what have been called "miscreations" to be in existence? Or is it all accepted, and if so, does that justify the existence of exceedingly negative realities when they do not have to be there aside from our belief in them in the first place?

This question was attempted to be dealt with through a process of mindful consideration of creation, such that one would pick and choose what realities were worthy of manifestation and what realities were not, instead of unconsciously translating all such realities, which would include horror movies, etc. This goes back to questions of infinite allowing coupled with free will and free choice.

For there is the acknowledgement of duality in a given reality and whether or not duality is a necessary component of a reality founded on contrast and whether those contrasts are likely to be considered unnecessary and therefore obsolete, having no further impetus for perpetuation in regards to reality creation, whether those contrasts are appropriate to be preserved just for fun and as a form of exercise, and the ultimate effect of brightly lit anime tones on such contrasting realities.

Anyway, we're going to take a look at what sorts of games our non-physical counterparts have come up with. Again, these may be completely different versions than the versions this reality is familiar with.

## Dimensional reality translations

* Ashtalarea - Translation of *Knights of Legend*
* Balema - Translation of *The Quest* and *Ring Quest*
* Belkana - Translation of *Crossed Swords* and *Crossed Swords II*
* *The Caverns of Freitag*
* *Fire King*

## List of games published by Non-Physical Publications

* *Final Fantasy Tactics Collection* - Remake collection of Final Fantasy Tactics games
* *Final Fantasy Trilogy Collection* Volume I, II, III
* *Final Fantasy: Ivalice Alliance* - Remake collection of Ivalice Alliance games
* *Heroes of Might & Magic Collection*
* *Might & Magic Collection*
* *Tactics Ogre Collection* - Remake collection, includes all Ogre Battle and Tactics Ogre games
* *Sexy Tennis*
* *Sonic the Hedgehog* - Accepted "Good version" retrieved from alternate Earth
* *Ultima*: Includes *Ultima Omnibus Collection*, *Ultima Zero*, *Ultima X*, scenario expansions for Ultima novels, manga, related games
* *Wing Commander Collection*
* *Wizardry Collection*
* *World of Mana* - Remake collection of World of Mana games