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casuallyyoa · 7 months

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ENDLESS DUNGEON CLOSED BETA IMPRESSIONS

WHAT

After valiantly obtaining a closed beta key via Twitch drops, I could finally try out the latest closed - multiplayer only - beta for Amplitude Studios’ ENDLESS Dungeon. Yet another entry in the overarching ENDLESS universe, it’s a roguelite tactical action game in a similar vein to Dungeon of the ENDLESS. Since I have the latter, there wasn’t any question about being interested in ENDLESS Dungeon. As it’s a closed beta, there’s still time for things to change ahead of its release on 19 October 2023 - provided it’s not further delayed.

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SETTINGS

The options menu doesn’t have all that much to play around, with some settings appearing to be unavailable for tweaking. The beta has the option to toggle an ‘Easy Mode’ which simply states to offer ‘several bonuses’ when you explore, but I didn’t try it out. Besides, I don’t even know if turning it on on my end will apply when I join someone else’s session.

Languages offered are:

German

English

Spanish

French

Japanese

Korean

Polish

Brazilian Portuguese

Simplified / Traditional Chinese

You can change subtitle size which is neat. There’s an interaction prompt background opacity slider, presumably not applicable to subtitles or other text boxes. There’s mouse aim assist alongside the laser sight, so that’s always nice.

PRESENTATION

Moving from the pixel top-down style of Dungeon of the ENDLESS, ENDLESS Dungeon uses 3D models in an isometric view. It does look quite nice, though I found it really hard to see certain area of effects. There are player turrets with red AOEs - obviously friendly - but then you have damaging effects from enemies which are also red. When things get hectic, I have missed seeing the warning triangles, or simply ran into terrain and wondered why I wasn’t going anywhere.

I guess I might need to turn brightness up on my end as well; regardless I hope there’ll be improvements to visual clarity. The markers on the map are at least colour-coded for your convenience with a really long legend you can refer to. Now this kind of begs the question: where’s the colour-blind friendly options? The monster spawners don’t have unique symbols on the map, and the colours are to indicate what they’re weak to. I hope this would be added for accessibility and all.

GAMEPLAY

One thing’s for sure: it’s more, uh, action-packed than Dungeon of the ENDLESS.

Before I get into the meat of the gameplay, there’s a little big problem with the multiplayer only closed beta. Not everyone has it for one, so games are a touch hard to find. At least, games in my region where I could hope for less than 50 ping. I connected to Europe or either United States servers during my playtime where I pretty much had an even harder time knowing when to dodge or even what was attacking me.

I bring this up early because unlike Dungeon of the ENDLESS, ENDLESS Dungeon feels like a much better time with friends as horrendously laggy as it were for me during this beta. I’m more of a turn-based, low speed kind of guy, and without being able to try the single player during this period, I wonder how the scaling is going to be like.

Anyway.

Up to three players can be in a game session at a time to descend into the Core of the space station they find themselves getting repeatedly resurrected in. With the power of friendship, guns and turrets, you and your buddies need to escort a fragile Crystal Bot through the zones while besieged by any assortment of creatures wanting pieces out of all of you. If you go down, your friend can help you back up. If the Crystal Bot goes down, all of you die.

As you might expect, the playable characters all have their own roles. I played Shroom, the medic, just so that I wouldn’t embarrass myself dying rushing in to kill enemies (har har). Her active skill has no cooldown but requires Soul stacks to heal. Ultimates require energy to cast, gained by dealing damage to enemies. I would pretty much just hang on to my Soul stacks and spray and pray to get my ult up for the heals.

As alluded to earlier, there’s a rock paper scissors thing going on, where certain elements are more effective against certain enemies. From the beta, it seemed we’d be more likely to get collectibles than anything usable - much less worthwhile - and in one session, 98% of the weapons from either chests or merchants were only for the Zed player wielding a heavy gun which neither the Bunker player nor me could use. At least if there’s any collectible drops, the loot is locked to you when it appears so it won’t get nicked from you if it’s that crucial.

There are fixed monster spawners instead of randomly just appearing from any old dark room with waves coming in as the danger level peaks or from certain actions, like from researching new tech or moving the Crystal Bot. At least the Crystal Bot can be upgraded this time, using shards you find lying around. That does also call the horde, so best be ready.

Action does feel more emphasized here as turrets have relatively limited range - compared to effectively covering an entire room in Dungeon - so the limited nodes have a greater impact. Likewise, the slots to build resource generators also don't feel as plentiful and monsters will go after these constructs that you can’t rebuild. Once the industry tanks, tough luck trying to make anything.

This game does let anyone be a fixer-upper to restore turret health at least, and they can get upgraded once they see enough action. Should a blackout happen, though, you’re going to have to replace all of them as they can no longer be restored. At least enemies don’t open doors you haven’t, so there’s a bit less crying about them trying to reroute your meticulous funnel.

Unless…

At certain points of exploration, you will be moved to a separate slice of zone, cutting you off from the previous segment. If you forgot anything there, then too bad, they’re gone. You do also leave the baddies behind, so you don’t have to worry about getting ambushed. Instead, you have to be concerned over bosses! These can have their own mechanics and phases, like how the Bug Momma will become invulnerable until you find the nests to enrage her to expose her fleshy underbelly. These so-called arenas can be quite small to maneuver in, so hope you can be quick on your feet.

It’s kinda funny that way because there are some rooms that are just so huge but have barely anything in them.

On clearing a zone, you get scored and earn Scrap that can be later used at the Saloon. This Scrap and most progression is only applicable to the host as far as I’ve experienced, which is a little of a bummer really? I wanted to go check them out in my own time in my own instance, but since I’ve only joined games and not hosted any of mine, I’ve got nothing.

Whenever you return to the Saloon, the hub area will gradually open up with a variety of things to check out and manage, or just chat up the people here.

There’s the Booster Chest at the Kiosk where you can buy a chest for some loot for your next run. Only the host can manage this so people don’t get funny ideas to throw a bunch of materials for junk.

The Library will have all the lore you’ve encountered, as well as ‘quests’ for respective Heroes to check. This is similar to Dungeon, where the characters in between zones in the elevators can have conversations and unlock unique dialogue and / or buffs (or demerits) depending on their relationship with each other.

From the Workshop you can find a list of equippable Chips for a Hero, but only after clearing the first step of their associated quest. The beta shows there’s at least three slots per hero as well as the Crystal Bot. This too, is currently only for the host to change.

The Hacking Post opens up different zones you can start in, so there’s a certain level of control for at least which bunch of monsters you’d prefer to fight first.

The Cafe is home to my current favourite, Fassie. You can find drink recipes as you explore and have him mix them for you. The ones I’ve gotten access to so far pretty much open up several flavours (pun not intended) of risk reward play, so pick your poison.

Normally I’d have a little section about the story of a game I play, but I haven’t been able to unlock all that much so I won’t comment on what piecemeal they have right now.

CONCLUSION

Even as I got sling-shotted across the map from lag after some rolly boys ran over me, I enjoyed the multiplayer ENDLESS Dungeon closed beta. That said, the issues with visual clarity I had are far more easily fixed than connecting to multiplayer lobbies, so if I do get the game eventually, here’s hoping single player doesn’t feel so bad. I fully acknowledge there’s likely to be a degree of skill issue, but until I can give it my best shot, we’ll leave it there for now.

Good luck on your adventures to the Core!

#ENDLESS Dungeon #Amplitude Studios #SEGA #Youtube

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savingcontent · 8 months

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HUMANKIND explores the Cultures of Oceania in new DLC today

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#Amplitude Studios #Cultures of Oceania #DLC #Humankind #News #PC #SEGA #Steam

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personaspain · 8 months

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Probamos Endless Dungeon en Gamescom 2023

SEGA y Cosmocover nos invitaron a probar en Gamescom 2023 las ultimas novedades de Endless Dungeon, la nueva apuesta de Amplitude Studios para el último trimestre de este año. Este juego combina elementos de acción, estrategia y roguelike, brindando una experiencia única y emocionante repleta de desafíos. Pero… ¿de qué trata Endless Dungeon? En Endless Dungeon, los jugadores se encuentran en un…

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#amplitude studios #estrategia #roguelike #sega

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workimages99 · 2 years

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Humankind Console Release Delayed Indefinitely

#until further notice #humankind #Humankind: Together We Rule #amplitude studios #aspyr media #sega #PC #noobfeed #Amplitude Studios delay Humankind's console release

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segadriven · 2 years

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#gaming #sega #segadriven #shooting games #endless dungeon #amplitude studios #pc #switch #ps4 #PS5 #Xbox one #xbox series x|s

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oceanusborealis · 2 years

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Humankind - Map-It

Humankind – Map-It

TL;DR – We map all of the eras of Humankind all in one map … okay many maps\ Mapping Humankind One of the joys I get is mapping out universes, while I have charted out movie universes like the MCU and Grand Designs. However, one of my favourite things has been charting how 4X video games explore the world and its history. Today we are looking at the next entry in this series, charting all of…

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#4X #Amplitude Studios #Article #cartography #Culture #History #Humankind #Map #Map-It #Maps #Video Game #video games

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xtremeservers · 1 year

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Amplitude Studios has announced a del... https://www.xtremeservers.com/blog/dungeon-of-the-endless-spiritual-successor-endless-dungeon-delayed-to-october/?feed_id=67853&_unique_id=643764848f3b8&Dungeon%20of%20the%20Endless%20spiritual%20successor%20Endless%20Dungeon%20delayed%20to%20October

#Featured #Xbox #Amplitude #announced #Studios

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valxb21 · 1 year

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#O brigado Amplitude Studio por isto!

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seokminded · 4 months

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To date a singer ♪ ₊˚

Woozi ✗gn!reader

꒰☆꒱ Genre: sticky cutesy stuff - fluff.

꒰☆꒱ Warning: rainy weather, close proximity, cheek kiss, some technical terminology? fuels delusions.

꒰☆꒱ Wc: 438

Soundproof glass panels muted the heavy drops that pelted against the windows. The beige leather of the couch cool on your skin as you set aside your MacBook that glowed to display work mails.

Getting up with a little stretch you decide to find your boyfriend in the little nook of his studio where you were right now.

"Jihoooon-ah! Still working?"

You called out as you found him behind bright panels of AMOLED and purple LEDs creating shadows on his focused features.

"Hmm. Just a sec babe."

Pouting just a little, you peeked over his lavishly cushioned chair for your eyes to be bombarded by the bright screen that displayed his DAW messy with layers of colored bars of various amplitudes. Your peripheral vision caught a neon sign of your name, making you smile to yourself.

After a few more clicks and approving nods, he spun his chair around and pulled you into his lap.

"Done."

He sighed and placed his chin on your shoulder as he pulled your back flush against his chest. Your cold feet slipping out of your slides as you rested your toes on his warm socked feet.

"I want you to listen to this."

He spoke against your skin.

"Oh, sure, go ahead."

With a hum, he reached forward and hit the play button.

Beautiful tunes and delicately interwoven notes filled the room as you heard his voice through the woofers. A love song. The lyrics were like something you had never heard him write before. They spoke to you. Closing your eyes you felt the music better and drummed your fingers to the beat. A mellow rhythm that felt like the crisp afternoon air of a beach swirling around you, feeling like a warm embrace.

"How is it?"

You heard him ask.

"So good! Something different, it feels more emotional than the other songs. Is it for your next comeback?"

A gentle smile on his mouth and he pecked your cheek.

"It's for you love."

Turning around to look at him,

"For me? What do you mean?"

"Well, wouldn't it be a sin to not write my beautiful lover a song...hmm?"

You were touched. Gosh, you loved this man.

"Jihoon, I...thank you so much! What's it called?"

Wrapping his hands around your waist, he snuggled into your neck and whispered.

"Y/n."

You let out a little chuckle and hugged him close. Writing you a song? No wonder the lyrics make you feel some type of way. What on earth did you do to deserve someone like him? You thought to yourself...

This is what it feels like to date a singer.

Expected.

Send in requests cause I strive to please.

#Seokminded.arcv #Artai.writes #svt #seventeen #woozi x reader #woozi imagines #woozi #lee jihoon x reader #lee jihoon #woozi fluff #caratsland #cutesy shit #svt x reader

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sgiandubh · 6 months

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Lionsgate/*** quarter call - not so good as it seems

While I am still fumbling around with the strike's aftermath, let me just quickly say a word or two about ***'s last quarter call, yesterday. Nobody does it as @cb4tb, but FWIW, here goes:

I should immediately say I could not watch the replay on the link provided by the initial press release (here: https://investors.lionsgate.com/news-and-events/press-releases/2023/10-19-2023-140125017), despite my total good will to take one for the team, go to bed early and wake-up at ungodly hours. I have no idea why - maybe access is somehow limited? I would never know, I had no 403 error in my browser, so... 🤷‍♀️. Instead, I could peruse the paper version of the standard Company Quarterly Report (US SEC Form 10-Q), along with some scarce press comments, for a bit of context.

The document is damn long (94 pages) and it reads exactly like I presumed: a kidney stone would be easier to pass (https://investors.lionsgate.com/financial-reports/sec-filings). It's perhaps worth for this phrase alone (on page 43), which really made me stop in my tracks:

At the time of the document's public release, it is technically true and accurate that the tentative deal between AMPTP and SAG-AFTRA still has to be approved by the union's members. However, given the horrendous impact of the strike on almost all things Hollywood and California, for that matter (more on this in a separate post), it's more than likely the deal will hold. The rest is dire: more slashing of content to come, 'if the Company is unable to efficiently complete the production of the film, TV show or program or decides to abandon the production'.

While this does not seem to affect Season 8, this could (I repeat: could) mean that: a) BOMB is gone and b) MIK3 is no longer a priority (the fact that MIK 2, as OL, was listed among the last quarter premieres is not a guarantee it will be continued - not the same amplitude as OL). If so, Season 8 might start shooting as soon as January 2024, since it already has all the needed infrastructure and staff readily available at Cumbernauld (yes, Mordor, the peasant you all love to hate managed perhaps to save the day again!). So OL is doing ok on that side, unlike other productions of other studios, who reportedly started a mad scramble for location scouting and staff recruiting, just before the festive season - that is a big competitive advantage and one of the main reasons I believe it's still entirely possible to pull it off.

The 'thriving' future (according to Feltheimer, that genius 🙄) of *** as a standalone company is still something we severely lack data on, as Lionsgate kept its commitment to go on with the acquisition of Entertainment One (you know, the Peppa Pig people), for a mere 375 million USD, to be completed by January 31, 2024. At the same time, *** is not the only actor on the US media & tech market to proceed to lay-offs and it seems to fare better than many, as I already supposed and told you:

(Sourced at: https://variety.com/2023/tv/news/starz-layoffs-exit-uk-australia-lionsgate-1235779627/).

Something to be closely monitored in the upcoming weeks. I think it's going to be worth it. Sorry for not bringing any sensational content today and I know it's dull and probably uninteresting AF, but it's there and it has to be taken into account, for sure. So yes, 'not as good as it seems' (profit is now mainly driven by motion picture, not television production), but not as bad as expected by the prophets of doom across the street, who - as usually - have no damn idea of what they are talking about.

#sag aftra strike

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vyl3tpwny · 1 year

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loudness in music.

you may be listening to music that is lesser in quality than artists really intend.

(pictured: a visual guide of FabFilter Pro L2's metering section)

this post is mainly aimed to talk to non-musicians and non-audio engineers, but if you're one of those and also feel for this post, cool. but i want to put this into perspective for people who aren't in music (recording and production in specific). i'm going to attempt to explain a very complicated concept as simply as i can fathom.

there's a lot of stages to the creation of a song or album. there's the writing, recording, production, mixing, and mastering (to simplify). what i'm going to be talking about has to do with "mastering", the final stage a song goes through before it's considered 'final' (in a sense).

mastering, in short, is the process of taking a fully recorded, produced, and mixed song; cleaning it up and preparing it for people to listen to it. a mastering engineer will often add some equalization adjustments to the overall song, adding some compression to bring things together and unify elements, and other stuff like that.

but the duty of establishing the "perceived loudness" is imparted on the mastering engineer.

loudness ≠ amplitude. amplitude is the true measurement of an audio's volume. but "loudness" is a measurement of how loud we actually perceive something. there are technically quiet songs that you perceive as louder than they are, and loud songs that you actually perceive as quiet. this is because loudness ≠ actual technical volume. amplitude is measured in Decibels (db) and perceived loudness is measured in Loudness Units Full Scale (LUFS).

audio processing and transmission always has a limit. for example, if you turn up the volume up too high while listening to music on your headphones, distortion and crackling may occur. this is called "clipping". the threshold for clipping varies from one device to another. cheap earbuds may distort without you even pushing the volume much. other headphones may be really hard to even get audio to clip.

(image source: MTX)

thus, because of the limitations of how audio works — both in the digital and analog domains — the mastering process of music seeks to finalize a song to be loud enough, but not so loud that it clips in a way artists and listeners don't want.

enter: The Loudness War

in the 90's when digital music studios started to become a thing, people started mastering songs louder and louder because things didn't distort as much when you pushed them in digital spaces. you can get stuff to clip in the digital world, yes, but it was much easier to push things louder than on purely analog equipment. ever since then, songs have been getting mastered louder and louder. we've called this "The Loudness War", because people compete to have the loudest mastered songs.

something you must understand is that the louder you try to master a song (without it clipping above a digital threshold) the more squashed the song gets. the methods for mastering a song really loud often make it lose quality and fidelity. for some people this is fine. stuff like dubstep usually benefits from the squash and the distortion (although it's a personal preference). nonetheless, people have actively chosen to master songs loudly to compete with each other, but at the cost of a song's quality and dynamics.

quick side note: a song's dynamic's is a measurement of how quiet the quiet parts are, how loud the loud parts are, and what the ratio is between these are. so a VERY dynamic song will have very quiet parts and very loud parts. a NOT VERY dynamic song will have mostly everything in the same volume range at all times.

so ok. artists and engineers have been fighting in this loudness war. everyone wants to have loudly mastered songs even though the more you try to push a song to be loud the more it will lose fidelity and the more compressed it will become.

below is a video containing three versions of my song "bonnie". the first version is the original master. the second version is being pushed into a mastering limiter hard. and the third version is being pushed into a mastering limiter VERY hard. a mastering limiter is usually the last part of the signal path of a song's master. i've (very roughly) gain matched the examples so that instead of hearing the loudness differences, you will hear the quality differences. they should be roughly the same volume, but the quality differences will be what you hear. pay close attention to the waveforms getting progressively more squashed the more the song is being pushed into the limiter.

youtube

keep in mind, this example is extreme and unscientific, only meant to demonstrate the kind of quality deterioration that occurs when you try to push a song to be potentially too loud. these quality issues often exist at least a tiny bit in songs that are mastered to be really loud.

so we know that trying to master something loud comes with tradeoffs. but people still really like to do it and sometimes it can be pulled off just fine. but not every song handles these treatments equally.

but what i really want to get at here is the fact that mastering things super loudly in the modern day is kind of pointless! the main exception i can think of is club mixes, DJ's really like to have loud stuff to work with because of the complications that come with DJing in venues. but aside from that, there kind of isn't a point to mastering that loudly anymore.

streaming services like spotify and youtube follow broadcasting standards and automatically adjust music to be roughly in the same range. this is so people listening to music on these platforms, especially through playlists, won't be bothered by a discrepancy in REALLY LOUD songs and really quiet songs being in the same space.

i've been thinking about all of this for a long time. i've been learning how to master my own music for maybe 4-5 years now? but recently an audio engineering youtuber, white sea studio, came out with this video:

youtube

i highly recommend you watch it if you have the time and are interested in learning more on this aspect of music. but to divulge upon the points and information they talk about...

...it's unanimously recommended to master your music to be at least ABOVE -14 LUFS. there are two kinds of misconceptions. the first being that you should try to have your song reach EXACTLY -14 LUFS. wytse explains in the video how this is wrong, and that experts instead recommend you master just to be above -14 LUFS, not exactly and certainly not lower. popular and loud music is being delivered at around -5 and -4 LUFS even. this is really loud and you can imagine there are lots of compromises to quality to get songs to be that loud. but as wytse continues to explain, there's clearly not much point in doing this if streaming services are going to be turning loud songs down anyway.

we're in an age where the loudness war really shouldn't exist. not only has it caused lots of songs (including my own) to be finalized and delivered with compromises to quality and dynamics as well as unfavourable distortion, but it's established this misconception that songs need to be mastered super loudly in the first place.

if it were so simple though, i don't think we'd be talking about this at all. to speak from personal experience, i actually feel self conscious if my music isn't as loud as other songs in the same genre that i'm making. i've found myself not even checking if i'm making it above -14 LUFS, often times i'm just trying to get everything to be as loud as possible. and this is a huge problem for me because i make music in every genre. period. my album CUTIEMARKS mixed dubstep, pop, rock, acoustic, ambient, and so many other genres in one place; but i worked so hard to get everything to be consistently the same loudness. the reality is that it's so hard to pull that off and i'm pretty sure the album is lesser in quality because of it. i already have frustrations listening back to things like "nonexistent meet-cute" and "how to kill a monster" from that album because i tried to push them to close enough loudness to a dubstep song lol.

but despite knowing all of these things very transparently, i still feel very self conscious about it. and i feel like this conversation actually needs to extend beyond musicians and engineers. that's why i'm writing this. i want listeners and fans to know that there's this thing going on and it's been going on for a while and it causes a lot of stress and misconceptions. i'm especially self conscious because i'm actually going to try to actively master my next album quieter than all my other ones on purpose. to try and combat all of this. even if it makes me self conscious to listen to some of my favourite albums of this year and know how much louder they've been mastered compared to mine. but i think it's really important we let songs breathe and not try to compromise quality anymore. it would relieve a lot of stress from me personally to be able to know this is all ok.

if you ended up reading this whole thing, thanks so much. this is a thing that's actually been affecting a lot of musicians who do their own engineering a lot. and it's been affecting all audio engineers anyway. this is an extremely complex topic and to anyone who knows as much as i do about it, trust me i KNOW this post is EXTREMELY simplified. but i want to speak to listeners and fans, not musicians and engineers specifically.

#vylop

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whencyclopedia · 2 years

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Gothic Warriors

Artist's impression of Gothic warriors. Created by Amplitude Studios for the video game Humankind.

#Goths #GothicWar #GothicWarfare

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slayonetta7 · 5 months

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This post is dedicated to my Typography Music Poster assignment for the Visual Communication module.

I chose Marina as the musical act, as she is one of my all time favorite pop artists. Every record of hers has its own theme and story and for some reason she has managed to create music that always fit to my personal situation when her albums released.

Ancient Dreams in a Modern Land is her latest studio album and is comprised of two main concepts: The Ancient and The Modern. I tried to match her design language for this era while still making this poster my own thing. The idea of the abstract old radio in the middle is supposed to reflect The Ancient. Some of the songs on this record have an 80s pop-vibe to them which is what both this radio and the quote from the LA times stand for.

But this is also expressed in the colors I used which are bright and eye-catching. The colors were taken from Marina's music video to the titular album track in which she is standing in several rings of bright neon color as can be seen in one of the attached pictures. The color hierarchy is the same within the radio waves and from the top to the bottom of the poster starting with red and ending with green. The sine waves within the radio are supposed to represent The Modern, a modern style of showing the amplitudes of songs in the music apps on our phone or editing software for example.

The background is kept very simple, a dark nights sky with stars alluding to the sky you'd see in the Greek Theatre in Los Angeles, where the concert takes place, as the venue is open-air. It also works as a foundation for the colors as it makes them stand out even more.

The fonts I chose are playful and fun and reflect Marina's current style which can be seen on the cover artwork.

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pittakosha · 7 months

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why i do this work, why i teach, my DHARMA

a yoga student cried in my class two weeks ago.

I taught a very powerful class a few weeks ago. Having that fear of hands on assisting students while in asana is a fear of mine.

I overstepped this fear after taking a teacher's hands-on-assist workshop the week before.

After teaching this powerful class. I asked for feedback to one of my students. She said "I cried. It has been so long since I have been assisted since before COVID." her memories of her old studio and the old assist reminded her how great it felt.

THIS IS MY WHY.I know that I must trust with my intuition, gut and believe that this practice works. Why I am seeking a 300 hour so that not only I can be of service.

I teach so I can also heal but also see people heal within their own somatic bodies. I am here so that people can resonate with their feelings, emotions and physicality. I teach so that the energetic, physical and spiritual body can integrate. I practice because I know this works. I have seen release. I have somatically experienced it my own.

Teaching has been so nerve wracking, gut gurgling, anxiety inducing, fear-mongering, shame, cringe moments, embarassment. But also it has made me outspoken, confident, connected, stronger, balanced, disciplined, knowledgeable, inquisitive, knowledge-hungry and more. It has brought my insecurities to the surface level and it has allowed my coping tool mechanisms in amplitude of service. It has allowed me to self-regulate, self-talk and more.

All the trainings I have gone from power yoga buffalo, to entering baptiste level 1 trainings, my first ytt, to workshops, from absorbing content from different teachers, to taking classes in different parts of the world. And now finally stepping into this 300 hour. training All of it leads up to my own individuality and to my DHARMA.

Om Sri Gurubhyo Namah

-->reverence to all the teachers who have come before me.

#yoga

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