In this power world video, I'm going to showcase to you how you can get the best powers in the game in regards to that work suitability traits. I don't mean level 4s either, I mean level 5s. Yes you heard this right, level 5s in that work suitability trait and these are above anything you can catch or even breed. So stay tuned. How's it going guys, my name is DPJ and I'm giving away a couple of copies of power world. So to win one for yourself or a friend who doesn't own it yet, simply drop a like on this video, leave a comment down below and make sure you are subbed with those notifications turned on. I will pick and announce the winners in the next few days, so good luck. Okay so yeah, after leveling up my powers, doing the usual breeding and so forth, I quickly realised which I don't think I've seen anyone else mention and that is you can actually level up work suitability traits on powers and today I will explain all. First things first though, there are 11 powers in this game give or take which can possibly go up to a level 5 in that work suitability because it's only available and achievable on powers with a base of a level 4 instead work suitability traits. What this does mean though I believe which I haven't tested yet and you'll understand why in a minute, but powers with a level 3 in a work suitability trait will be able to go up to a level 4, a level 2 go up to a level 3, a level 1 to a level 2. So how this works is as follows and I'll give you an example on my Anubis who is a base of a level 4 in that handy work. So what this takes guys is a grand total of 117 of a single power, yes you heard that right, you need 117 of that one single power. The instance I'm using and showcasing to you on screen now I had 117 of my said Anubis. So you will need 117 of that said power you want to level up that work suitability trait on because you need your one, your main one which you want to level up and you have to sacrifice the other 116.  Stage 1 is only 4 powers, stage 2 is 16 powers, stage 3 is 32 powers and stage 4 is 64 powers. A grand total of 116 powers need to be sacrificed in order for you to reach that stage 4 and this is when you get that upgrade to that work suitability trait. You won't get it at stage 3 or stage 2, you get it at stage 4 when you sacrifice the remaining 64 powers to reach that stage 4 at its power condensation machine and that is the limit. Upon you doing this that main power you first inserted where you sacrifice the other 2 of this guy, their work suitability trait will have leveled up. So if it was a level 1 to begin with it would be a level 2, if it was a level 2 it would be a level 3 and level 3 would be a level 4 and level 4 like my Anubis went up to a level 5. And there are a grand total of 10 others, not including the Anubis, so that's 11 powers within this game which have a base of a level 4 instead work suitability trait and today guys we'll name them all. So the first one is for Kindling and here we have the German tide Ignis, who is this game's only level 4 in kindling. This power can be found far left of the map on this little island, he won't be an easy catch though and you will need that heart and cold resistant armours across here depending on day or night. Remember also if you're planning on doing this you will need a breeding pair to get the 116 others. Ok so next up and the only power we have in the game which is a level 4 in planting is that Lilene. Now Lilene is also exclusive to one of these small islands but this time it's the island within the top right. Same rules apply here, bring that armour, heat resistant and cold resistant armour as well as your best spheres to catch these things. Also don't forget you'll need a breeding pair if you want to reach that level 5 in planting. Next up people we have Handiwork and the only pattern in this game with this stat is Anubis who does appear on the map as a world boss who you can go out and catch if you wanted to but it is way way easier to breed this dude and there are many many combinations to do so but the easiest in my opinion is definitely Relaxaurus and Celery. These can be gotten real early on roughly around the level 18 or 19 so you're good. So go out and get these two, get mating pairs of each, breed them together and create that Anubis and keep going until you have a mating pair of Anubises and then breed these together and keep going until you have enough to reach that level 5 on your Anubis in that work suitability trait. Ok so in regards to transporting there are two pals you have a base of a level 4, meaning you can level these up to a level 5 and that's Wumpo and Wumpo Bolton. The location of these two can be seen on the screen now, Wumpo Bolton is found far left area at the spot we covered earlier where you find German Tide Ignus and you have Wumpo is up in the snow so do what you gotta do guys and grab these two. Ok so we're going to move on to Watering and the only Watering level 4 pal in this game is German Tide, the standard version who only does appear on the map as a level 45 world boss. If you are a lower level and you can't catch this guy you can always try breeding Elizabeth and relax with us, this guarantees you a German Tide, breed these together until you get a mating pair of German Tides and you can keep going until you get enough to sacrifice to get a level 5 in that Watering. Ok so generating electricity there's only one level 4 pal in the game and it's Ozurk, he can be found within the top right island we spoke about earlier, again guys come up here bring that heat and cold resistant armor, bring the best spheres you have because it's going to be a long night, there's quite a few pals up here too which I also will add, they are small, they won't all appear at once but if you do do rotations unlike a flyer, just fly around in circles, when a pal actually goes out around the distance 99% of the time it will rotate to a different pal and you can do this over and over until you get the ones you are chasing. Ok so next up guys we have Mining and there are two pals in this game that are for a level 4 here, they are Astagun and Blazermot, both of these pals can be found within the same location we just spoke about, the top right island guys, the same place you will find Ozurk, the same place you will find Lyleen and a couple of others up here, so yes come prepared, do what you gotta do, get yourself an Astagun and a Blazermot, breeding pairs of both because this is where you start if you ever want to get to a level 5, in that mining works with ability trait. Next up guys we have Cooling, so the level 4 stat in this game is exclusive to a legendary world boss called Frostalion who appears only at a level 50, she is located up north within the snow area and will be a difficult catch for sure, but do what you gotta do guys, bring that armour, bring those legendary spheres and try and grab this thing. Ok so lastly guys we have Gathering, the level 4 in this stat is exclusive to one pal and that is Frostalion Nut, this is a pal exclusive to breeding and to breed this pal you need the parents of Frostalion who is just covered and how severably that's pronounced, who can be located right here on the map. Now breed these two together guys and it guarantees you a Frostalion Nut who is like I said the only level 4 in that gathering in this game. And there we have it guys, all pals in this game which can guarantee a possible level 5 in that works with ability trait. Remember though, the same method works to upgrade any pal's works with ability trait, not just level 4s, so if you have a third pal who you like to use who is only a level 2 or 3 in that certain rank, you can rank that higher by doing the same method. Catch or breed so you have 116 spares and just basically combine them together create that essence within that pal compensation machine and create that monster. And there we have it guys, this is how you get a level 5 in those works with ability traits in pal world. Guys if you enjoyed the video leaving a like really helps out, if you like what you see and want to see more be sure to subscribe and hopefully guys I will see you on that next one.


If you allow yourself to become perplexed by the simplest of things, life itself becomes a mystery. Somehow, through some biochemical process, we got life from non-life, sentient agents from molecules swirling in a pool. Of course, life has now become smart enough to question its own origin, and hence the impetus for an essay like this. Erwin Schrodinger posed this question in his book What is Life, which was a precursor to many of the discoveries we have made about ourselves. We are self-replicating thermodynamic vehicles that can exercise agency in our own self-replication. Genetics, embryology, the double helix, we are defining our own mechanics. However, is this all that we are, and how could this complexity possibly come to be? Here's a detour, what if games can help elucidate some of these questions, not in any technical biochemical sense, but in a more aesthetic capacity? Game of Life by John Conway reveals how simple rules can generate self-replicating patterns of surprising complexity, and the Mandelbrot set yields infinite fractal patterns by a way of a single equation. In the same way, games are built out of simple rules, but they generate what many people refer to as emergent phenomena. What if in the same way the play of chess emerges from the rules we construct, we emerge from the rules the universe constructs? This is the supposition of Stuart Kaufman in his book At Home in the Universe. He states, most of the beautiful order seen in ontogeny is spontaneous, a natural expression of the stunning self-organization that abounds in nature. Under this view, life is not random or a byproduct of chance evolutionary encounters. We are inevitable. I am not here to discuss RNA, DNA, or abiogenesis, nor to suggest that I think Kaufman is right in his observations, just to present this fascinating parallel between our understanding of play and games and the nature of life and the universe itself. But perhaps our conception of life itself is limited, narrow, anthropocentric. In his book The Web of Life, Fritjof Kapra asks us to broaden our understanding of life. It is not located in the essence of any individual, but across all of life. This is an invitation to see things in ecological terms, in an integrated way. Kapra explains, deep ecological awareness recognizes the fundamental interdependence of all phenomena, and that we are all embedded in the cyclical process of nature. In the game Everything, we are asked to perceive the universe in such a way as a web of connected parts whose essence is interchangeable. We can move from the microscopic to the macroscopic, propelling ourselves through various scales and resolutions. The aim of the game was to systemize the monist philosophy of Alan Watts, who narrates this cosmic adventure with his characteristically soothing tone. To see life as a process and not sustained by our own ego. But you see in all this what underlies, is the illusion that I am going on. However, an integrated outlook of the world is not rooted in the mystical incantations of some new age tradition, it is embedded in real science. It is a tradition of emergent and complexity sciences, from dynamical systems theory to complexity theory to network dynamics. The trace of history is too broad, but it has roots in von Bertalanffy's systems theory and Norbert Wiener's observations about cybernetics. A proper understanding of life requires these frameworks of systemic analysis, but so too does the design and understanding of games. In his book Advanced Game Design, a systems approach, Michael Sellers attaches games to this lineage of systems theory. Games have parts that create holes that are more than these parts, just like life is, just as we are. However, games are also cybernetic systems, feedback loops that require us to participate in sustaining its structure. Ilya Prigoshin introduced the idea of a dissipative structure, of certain objects like whirlpools are created when a set of parts interact in a specific way. As soon as those parts dissipate though, so too does this dissipative structure. As it is with objects in nature, so too do games exemplify these dynamics. Sellers classifies games under engines, economies and ecosystems, each of which require our participation. Engines exist in various geysers, whether boosting systems in racing games, or the rage mode in an action game. It's when inputs are acquired, then are either used or stored for a later time, creating risk reward dynamics in play. Economies are more complex versions of this, where acquired resources can be traded, bartered and transacted. Ecosystems are self-sustaining though. They are webs of complexity like we see in the world of EVE Online, with market phenomena, trade disputes and networks of organization. Some might say, life of a kind. Any game can be viewed through a systems lens of inputs, outputs and converters, and this perspective is employed by some in the design of games. Will Wright's design philosophy centers around this idea of games as dynamic systemic devices, and this shows in his games influences. SimCity is about building economies, networks of related resources, and was inspired by the work of Jay Forrester in Urban Dynamics. The Sims took the work of Christopher Alexander in a pattern language, a book that applies systems thinking to architecture, to craft living spaces and human dynamics. But of course, the game of his that illustrates the parallels between games, system and life the best, is Spore. Spore is a game where you play evolution itself, where you are invited to see the continuity between microscopic amoeba and intergalactic civilizations. The game was inspired by Wright's reading of books like Powers of Ten, which tries to illustrate the way things scale in the universe, but also his interest in topics like astrobiology and the search for intelligent life. It walks players through different stages of evolution, each with different forms of play, but illustrates concepts like evolutionary progression and path dependence in the process. In the cell stage, you are eating as you do in Pac-Man. It's a simple engine which can be used to evolve yourself, establishing a trajectory. In the next stage, the creature stage, you must choose to be social or aggressive, influencing the dynamics of play and where you exist in the food chain. The tribal civilization and space stages play like more conventional strategy games, as you try to become the dominant species and enable your exodus from your home. Spore highlights the continuity between games, systems and life more explicitly, but what ties them is their expression of emergent and systemic patterns. However, there was emergence in the process of its creation as well and the use of procedural systems to create everything. Procedural tools in games also exhibit emergence. They generate elements that game designers themselves can't predict. In his book, Evolutionary Game Design, Cameron Brown walks us through how he created the game Yavaleth, a game of surprising complexity by putting games like chess and go through their own evolutionary process, modifying them in the same way evolution selects for attributes that persist in the environment they exist in. Emergence is still a confusing term in the study of systems and games and so needs to be classified. In their essay, The Open, The Closed and the Emergent, the authors distinguish open games which are games that don't have the same outcome to emergence in games which is when games generate phenomena that doesn't exist in their rules. This manifests in three ways, in the way that games self-organize their elements but also in how there is emergence in the process of design itself as well as in how strategies emerge in games that aren't predicted by the designer. In some sense, design is always emergent. It is second order. You are creating a system that others interact with. This isn't some random haphazard process. Designers exercise control over this. However, there are also novel phenomena generated by games that the designers had to play with. It is an interplay between exercising control and unpredictability. And it is in this way that designers like Will Wright and Sid Meier and Warren Spector Design by observing what the system of games generate and evaluating whether they form the play they want, whether play has any vitality, any life. In his talk, The Nature of Order in Game Narrative, Jesse Schell adds aesthetic valence to the properties of play that emerge from the rules of games which only some games exhibit. He borrows a term from Christopher Alexander to give this property of play a name, life. In his talk, This Is Your Brain on Games, Frank Lance argues games can aid with systems literacy, a capacity to peer into the dynamic nature of things and interrogate and refine their machinery. They can teach us how to design, evaluate, and alter systems. By foregrounding the way systems work, games can be instrumental in solving the problems of the 21st century. Not directly, but by virtue of the perceptual shift that the analysis and design of games endows us with. This is a bold claim, one that many advocates for games have been hoping to illustrate, how games and play can be good for us. But how can this systems literacy be instrumentalized to engender an integrated outlook, one where we recognize ourselves as part of a system in the way the aesthetics of everything encourage us to do? Perhaps the answer lies in something we brushed over previously, in the way games are cybernetic systems. Games are feedback loops of processes and engagement, but what's interesting is that we are intrinsically a part of ensuring the dissipative structure persists, that the transience of games is made permanent. Play is what makes the perils of impermanence dissolve, and it is through play we understand ourselves as part of this process. We are algorithmic networks, ecosystems that become aware of their own machinery, of how we think, how we feel, and why we act the way we do. Games create systemic microcosms of our dynamic place in the world itself, allowing us to examine ourselves in thought to peer into our own systems. Equipped with a renewed systems literacy, the problems that face our species become more manageable. At least, this is what Frity of Capra argues in an older book of his, The Turning Point. Michael Sellers argues that games have economies and ecosystems, but what of their real world counterparts? Economics has trodden in reductionism for far too long. We assume that macroeconomics comes from an analysis of the behavior of individuals, but what if our economy exhibits properties that the parts that comprise it don't have? But this abstraction can also be dangerous. As the famous quote goes, there is no such thing as the economy, only people. We need to be able to effortly move between different scales of resolution, recognizing both systems and people. New branches of economics that use complexity theory and systems analysis have recently arose, challenging the reductionism of the past. But so too does a renewed ecological stewardship require systemic thinking, and this is integrated into our economy in fundamental ways. Value is not arbitrary. We must recognize that our life is sustained by the resources we acquire as we do in a game of Minecraft. Anyone who believes in indefinite growth in a physically finite planet is either mad or an economist. However, the impassioned cries of environmentalists often fall on deaf ears. Capra argues that the problems of our time won't just be solved by the mechanics of systems literacy, but also the aesthetics, the beauty of seeing ourselves as part of a web of life. Then there is life in the games we create and the aesthetics that they exhibit and the universe itself. Games reflect the patterns of the universe because they themselves are a part of the universe. But then where does this leave us? We are both part of games and embedded in the cosmos, both mediators and integrated all the same. In his book, Incomplete Nature, Terence Deacon argues that our understanding of the systems around us is incomplete without us, our consciousness, the single most perplexing form of emergence the universe has yet conjured. What life is is a question we are still answering, but that doesn't mean we can't see it, feel it and play with it in the way we do in games.