Days as a Spiritual Mentor in American Comics Chapter 5796 - 4819: New Version and Film Shooting (Part 2)

Alongside the ninth version of Battleworld, the beta version of Creator Mode was launched. It can be said that upon release, it caused a sensation across the entire multiverse—not just the multiverse of one world, but of both worlds together.

It’s important to understand that the "creator" is the ultimate pursuit of both science and magic. Legends about Creator God or God in magic are well-known, but in essence, science is also about "creation." All scientific theories aim to explore cosmic truth, and uncovering the cosmic truth is meant to better transform the cosmos. To transform the cosmos, "creation" is an unavoidable process. The ability to create at will is precisely the endpoint of scientific pursuit.

Apart from the true creators from both sides, no being can create at will. Even beings like Lucifer have certain limitations. But now, Battleworld aims to make everyone a creator, even if only in a virtual world. However, this virtual world is so realistic that everyone who has ever played in Battleworld would think so.

Or to put it differently, Battleworld is essentially a real universe; after all, it is created by the same creators from both worlds, utilizing the same underlying system. So why shouldn’t it be considered a real universe?

Because of this, being able to use creator abilities in such a place is akin to being God. Therefore, on the first day of the server opening, it almost crashed from the influx of users.

Unfortunately, people’s enthusiasm came quickly but diminished just as fast. Many who wanted to witness the charm of Creator Mode retreated soon after entering. The reason being, the hardware simply doesn’t support it.

This Creator Mode demands a certain brain capacity. If your brain can’t meet the requirements, entering the mode would feel like getting hit with a hammer. The knowledge of creators floods into your mind much like how the outer gods pollute ordinary people, and it certainly doesn’t feel good.

But even passing this hurdle doesn’t mean you can use it. Take, for example, Superman; their cerebral capacity is more than sufficient, but unfortunately, they can’t make sense of a single word. Or rather, there are no words, only feelings that need to be carefully experienced. It requires grasping fleeting inspiration to find any clues within the overly intricate yet simplified creator mode. This is something even Superman cannot manage.

In fact, not even all Batmans can handle it. Though few are eliminated due to insufficient brain capacity, Batman is not the kind of mad scientist overflowing with inspiration. His excessive rationality somewhat hinders him from using this mode. Creating ordinary objects is not a problem, but when it comes to human emotions, he finds himself at a loss.

On this note, Iron Man fits the profile of a creator best. Unfortunately, he’s a bit too adept at spur-of-the-moment inspiration, and somewhat of a short-attention-span artist. He opens one project, then halfway through decides another method might be better, and opens another project. Halfway through that, he thinks changing style would be better still.

Comparing the two, it’s like two different types of games. Batman’s constructed world is rigorous, technically advanced, with beautiful and captivating scenery, but it lacks interactivity, and the processes are somewhat repetitive. The overall experience feels meticulously crafted yet monotonous, like a canned game from a big studio.

Whereas Iron Man’s creations have moments that make one stand in amazed admiration—it can be called genius—but the overall completeness is too lacking. Beyond those moments of brilliance, everything else is crudely made, released without being finished, like some independent games highlighted by both notable features and glaring flaws.

And surprisingly, the one who did relatively well is Doctor Doom. He essentially combined the strengths of both, achieving high technical prowess while adding clever touches to small details.

Unfortunately, Doom is somewhat excessively self-centered. Everything he creates in the Game World is named "Doom Universe," and anything resembling a nation or organization is called "Doom Empire." Every street and building is labeled "Doom Street" or "Doom Building," leaving people bewildered.

Moreover, all his designed plots revolve around how invincible Emperor Doom is. He doesn’t care whether the protagonist enjoys it or not; the entire narrative focuses on his wisdom and commendable achievements. Once played, all that sticks in mind are the two syllables "Doom."

As for Reed, he hasn’t produced any games so far, but that’s the scary part. This suggests he might be studying this creator system itself. Who knows, he might poke a hole in it someday.

Ironically, it’s often those who barely meet the threshold to enter, still not very adept at using the system, who create great games—like Spider Man.

He doesn’t just meet the threshold but hardly exceeds it, relying on his innate intelligence since his spider power doesn’t include cognitive enhancement. In reality, Spider Man’s character setting is that of a reasonably intelligent neighborhood kid, not quite a super-genius.

Nevertheless, Peter Parker is highly self-aware. He never intended to create anything overly complex, even planning to start with pixel mini-games from the GBA era to hone his skills gradually.

After making a bunch of mini-games and barely grasping some of the system’s basic functionalities, he started transitioning to 3D game development, gradually improving graphics and content.

Having played numerous video games, he’s well-versed in various game modes. Initially, he focused on suspense and horror games that relied on narrative and atmosphere rather than modeling. Once his modeling skills improved, he moved on to linear story-driven games. After mastering those, he transitioned to sandbox exploration and semi-open-world games, eventually aiming for truly open-world games.

But even while working on open-world games, he didn’t focus solely on that, continually making mini-games. Whenever he conceived a good idea, he’d incorporate it into the open world he was developing; any technical advancements were added in as well.

Additionally, the Spider-Men collaborated extensively. Every Spider Man contributed new ideas and technologies to the same open world, which they dubbed "Spider Nest." It quickly began to take an impressive shape.

Since the launch of Creator Mode, Shiller spent most time indulged in the games created by the Spider-Men. Ranging from very simple platform-jumping games to horror and puzzle games, although they aren’t as meticulously designed as later Battleworld dungeons, considering most were crafted by just one or two Spider Men, their playability and completion are nothing short of miraculous.

Battleworld naturally reached an agreement with the Spider-Men. The open-world instance named "Spider Nest" would become the flagship offering on Battleworld’s game platform. Battleworld’s administrators and designers would also assist them, with Eternity and Lucifer giving lessons to the Little Spiders, for example.

Spider Man is like that bright and diligent student in a class. While not possessing the most elite talent, their aptitude combined with their effort allows them to surpass many geniuses, perhaps even defining them as unique.

Soon after, many realized that given the complexity of the system, going solo leads nowhere; cooperation works best. With each person handling a part, they could share experiences and learn from each other.

Since the system’s ceiling is incredibly high and highly user-friendly, it genuinely instills a sense of joy akin to being a creator. Even Iron Man, a Superhero averse to collaborating with counterparts, reluctantly hosted an infrequent meeting to prepare for creating something earth-shattering.

Batman didn’t indulge excessively in the system, for as Greed once mentioned, the dangers in their world are simply too numerous. The aftermath of the Black Death Emperor hasn’t been resolved, and now Doctor Manhattan must be guarded against. Apart from a few Batmans still exploring, most have returned to the real world to deal with serious matters.

As for Manhattan Playground, it can be said to have had the misfortune of timing. Their overwhelming advertisement campaign indeed attracted some players, and initial reputation was decent. But after the official server maintenance, it was delayed from reopening. By the time it did, Battleworld’s Creator Mode had launched, drawing everyone to play new content, leading to few loyal players being retained and early efforts essentially wasted.

Regarding Brainiac’s Game World, it’s far from realization, not even the outer round of its pie is drawn, let alone any multiverse communication system.

With the new version launched, Shiller finally got a bit of downtime. However, his leisure days are always fleeting as the second part of "Ilvermorny" is about to begin filming.

The good news is, the school doctor’s role isn’t extensive in the second part; the bad news is, the antagonist’s role is considerably larger.

The previous plot was essentially: this school doctor appears villainous but is actually a good person. The ultimate truth is a combination of good and bad. Most of the first part showcased how he doesn’t look like a good person yet truly is one. The second part begins to explore his genuinely villainous side.

Yet this is not much of an issue, anyway, just enlist Arrogant when portraying villains, as he naturally exudes the aura of an antagonist. Nonetheless, the inescapable Hollywood tradition of bringing capital into production arrives as expected.

Many films start this way. While shooting the first part, since most involved aren’t yet famous, genuine effort is put into pure filmmaking. Directors convey their visions and actors give their best performances, resulting in excellent films.

However, once a film becomes popular, inevitably many attempt to intervene. Who wouldn’t pick up money falling from the sky? Less capable investors are initially ousted, replaced by larger companies. These big firms then begin interfering in filming to extract more profits, potentially replacing all producers and directors with their people. With an entirely new team, they fill roles with connected actors and sneak in commercials. To appease the actors and advertisers, the plot becomes fragmented, eventually leading to an utterly unwatchable bomb.

Although "Ilvermorny" wouldn’t sink to such a level, after the first part’s success, indeed from the second part onward, many sought more involvement. The director, overwhelmed, pushed everything onto the investors. Stark, having no time to manage this, left everything to Shiller.