As many of you may have read, there is a case of two missing adopted kids in North Carolina, where remains have been found. The news has reported that their adoptive “mother” is Avantae Deven.
I’m a curious person and started digging up information on Avantae Deven when I first read the story in my news feed and could not believe what I was reading. It seemed like whomever this woman is must have be using an alias; Avantae Deven is not a name like Kim Jones or Mackenzie Smith.
The more I dug, the weirder it seemed to get. I found a property deed to a place in Sedona, Arizona, and figured out that whomever this Avantae person is, she at one point in time had owned a home together with someone named Nicole Adams. So I dug into who Nicole Adams was, and learned that she was the widow of a spiritual leader named Robert Adams. It appeared to me that there would be no way to identify who Avantae really was, unless I could also identify the true identity of Robert Adams.
*******
I've done investigative work for many years, including skip tracing. I can conclusively state that there was absolutely no person actually named Robert Adams born in New York State on January 21, 1928. This is demonstrated by the New York Birth Index. I have combed the census records for 1930, 1940, and 1950, and cross-checked them against multiple databases, and am confident that nobody with the birth name of Robert Adams was born anywhere in the United States on January 21, 1928.
Moreover, there was absolutely no person with the true name of Robert Adams who died anywhere at all in the United States, let alone Sedona, Arizona, on March 2, 1997. This is demonstrated by the Social Security Death Index.
I began this research largely by performing exhaustive searches on the known addresses that are associated with Robert, his wife Leonie (who used to use the alias Nicole), and Avantae Deven (who turns out to be their daughter Michelle who began using the alias Avantae in the mid-1990’s or so). Most of the addresses are PO boxes. Those that are PO boxes are all *private* PO boxes, not PO boxes that one can rent from the United States Postal Service. To me, that spoke volumes. The family were clearly using aliases.
As I explain further below, I eventually determined that “Robert Adams” was Robert Spiegel, born 21 January 1932 in New York. “Nicole Adams” was actually Aileen Beverly Leonie Maxwell, born February 2, 1929, in Jamaica. “Avantae Deven” is actually their daughter, Michelle K. Spiegel, born on October 1, 1960, in California.
One of Robert’s many false stories about Robert’s life that my research has refuted is Robert’s claim that his mother was Jewish and his father was Catholic. That was a lie. Both of his parents were Jewish. It’s also interesting that he claimed that he was “raised Catholic.” There is absolutely nothing to suggest that. His mother always, in New York, lived in Jewish neighborhoods. Moreover, as will be discussed below, his parents had a Jewish wedding. It’s also downright absurd that he would tell people that he was “half Jewish.” If your mother’s Jewish, you are Jewish, pure and simple. Even if Robert’s father had truly been Catholic (which he wasn’t; his name was Samuel Spiegel and he immigrated to America in 1907, lived with his Jewish, Yiddish-speaking cousins, and spoke Yiddish himself), Robert would have been Jewish because the status of being a Jew comes from the mother. Robert’s mother’s name was Fannie (nee Fleisfeder) Spiegel. Fannie’s parents were Itzik Fleisfeder and Esther Libke (nee Rifkin) Fleisfeder. Esther’s parents were Mendel Rifkin and Sarah whose maiden name is lost to time and the disappearance of the shtetls. Robert’s claim to having had a Catholic father was utterly false, but is part and parcel of his ongoing compulsive daily lying about anything and everything.
Here is the story.
*******
Kolomyia, formerly known as Kolomea, is a city currently located in the Western Ukraine.
On January 21, 1892 (the same year that Kolomea tallis¹ workers went on strike for better pay and working conditions), Kolomea resident Rachel Katz, wife of Abraham Spiegel, gave birth to a son, who was given the name Schmuel.
On the date that Schmuel Spiegel entered the world, Kolomea was ruled by the Austro-Hungarian Monarchy, and almost half of the city’s residents were Jewish.
In June of 1907, fifteen-year-old Schmuel² boarded the Zeeland, which sailed from Antwerp, Belgium, arriving at New York Harbor on June 18, 1907. The ship’s manifest states that Schmuel’s father had paid for his transport, and that Schmuel intended to reside with his father, Abe, in Brooklyn. Schmuel was granted entrance, and took up residence with his cousin Charles Fetner, who resided at 353 Myrtle Avenue, Brooklyn, in Apartment A with his wife Jennie and their baby daughter Ettie. The sparse record that exists suggests that although Schmuel’s father was, indeed, named Abraham, Abraham lived and died in Europe, without immigrating to America.
The 1910 census describes Samuel’s cousin Charles as a carpenter, who had been married to housewife Jennie for six years, and a father of three children-- Ettie age four, Nathan age two, and baby Jacob, who was not even a year old. Eighteen-year-old Samuel was identified by profession as a “Foreman Sailmaker” in an industry described as “pocket-books.”
Three and a half years after being granted admission, on a bitterly cold winter day, January 4, 1911, Schmuel (now employed as a pocket-book maker, and having Anglicized his name to Samuel) signed and submitted his declaration to become a United States citizen. He stated, in that declaration, that he was born on January 21, 1892.
By 1915, Samuel had left his cousin’s abode and was residing as a lodger in the home of a widow named Rose Hammer, who lived with her two adolescent sons, Meyer and Louis, at 531 E. 5^th Avenue; Samuel was now working as a “driver.”
Two years after the 1915 state census was taken, Samuel had moved back to Myrtle Avenue, but this time at building no. 849. On June 15, 2017, Samuel registered for the draft, and described himself as being a pocketbook maker, working for “A. Shoenfeld,” at 101 Crosby Street, New York. He was single. He stated, in his draft registration, that he was born on January 21, 1892.
*******
A woman named Fruma Fleisfeder was born in Beltz, Bessarabia, sometime between July 1, 1893, and 1901, to Itzik Fleisfeder and Esther Lieba Rifkin. Fruma (not living up to her pious given name) provided different dates and years of birth to different authorities on different occasions, making it impossible at this point in time to know her true position in the birth order of her family. Regardless, Fruma, who began using the name Fanny upon her entrance to the United States, did have three brothers and a sister who also came to America-- Louis Fleisfeder who was born April 10, 1890, Max Irving Fleisfeder who used October 10, 1892 as his birthdate, Hersch (later known as Harry), whose official birthdate was December 15, 1901, and Sylvia who was born in approximately 1906.
On December 1, 1919, Fruma arrived in New York Harbor on the ship La Touraine, declaring her intention, at entry, to become a United States Citizen. The ship’s manifest describes her as five feet five inches tall, with fair hair, blue eyes, and a fair complexion. The ship’s manifest states that she was, at that time, age 24. If that were correct, she would have been born in 1895.
Fruma (then going by Fanny) took up residence with her cousin Ethel (nee Ruchlin) and Ethel’s husband Samuel Steinberg, on 15^th Street, Brooklyn. Soon thereafter, Ethel gave birth to her first child, a daughter named Theresa. The 1920 census states that Fanny was Russian, didn’t speak English but, rather, spoke Hebrew, and worked as a milliner in a millinery store. The 1920 census also states that Fanny was age 25, which lines up with her being age 24 in the prior year’s ship manifest.
*******
Sam and Fanny married in Manhattan on January 24, 1925. Their marriage certificate (signed by each of them) identifies Sam as being age 32 (contradicting, by one year, his immigration records which would have placed him at age 33), and identifies Fanny as age 24, the same age that she had claimed to be six years prior, and also contradicting an immigration petition that she would file two decades in the future, which generally placed her birth year at the mid-point of 1893.
If Fanny’s immigration records (which included a petition with her signature on it) were correct, Fanny would also have been age 32 as of her marriage to Samuel, not age 24.
So did Fanny lie in her marriage certificate? Or did she lie in her immigration petition?
The marriage certificate identifies Sam as having been born in Kolomea, Austria, and his father being Abraham, and his mother being Rachel Katz. It identifies Fanny as having been born in Beltz, Russia, to a father named Isaac, and to a mother named Esther Rifkin.
The marriage certificate does not identify Fanny as having any profession, but identifies Sam as being a pocketbook maker.
Sam and Fannie were married at 125 E. 4^th Street, Manhattan, a six-story apartment building with retail units on the ground floor that is now an expensive co-op, with three-bedroom units selling for over $900,000. Present-day real estate advertisements alternatively state that the building was built in 1894, 1903, and 1905.
The first name of the rabbi who officiated was Harry. His surname starts with Reid, but the remaining letters of his signature are illegible. Rabbi Harry identified his residence as 232 Broome Street, which, at the time, was a four-story mixed use building that, among other things, housed Chevrah Ahavath Zedek Anshei Jaskinover.
Witnesses to the marriage were Mayer Budmon and Samuel Steinberg.
*******
Sam and Fanny’s existence was documented next in the 1925 New York State census by census. They were living at 205 S. 2^nd Street. Samuel was still working as a “pocketbook maker.” Fanny was identified as a “housewife.”
Fanny was identified as age 25. This was in accordance with her age as stated on her marriage certificate, but not in accordance with her immigration documents or the 1920 census.
Sam was identified as being age 28, which conflicted with all prior records.
*******
In 1930, the couple were again enumerated, this time in the Federal census. The enumerator, whose signature appears to be “Max Krahn” (or something like that) stated that he obtained the information on April 16, 1930.
Sam was identified as a “framer” of pocketbooks. He was identified as being 36 years of age, which conflicts by two years with the age that he provided to immigration authorities. Perhaps the enumerator was simply sloppy; Samuel was also incorrectly identified in the 1930 census as having been born in “Poland,” with parents who were both also born in “Poland,” notwithstanding other governmental records having identified him as being Austrian. The language he spoke? “Jewish,” according to the enumerator. Was that to mean Hebrew? Yiddish? Both?
Fannie was identified as age 30 (directly in conflict with the information she supplied in her immigration petition, which bears her signature) and as being “Russian,” with parents born in “Russia.” The 1930 census enumerator incorrectly wrote that her year of immigration was 1921. Fannie, too, was identified by the enumerator as speaking the “Jewish” language.
Although later records reflected that Sam and Fannie had a son named Irving who was born in 1926, Irving was not recorded in the 1930 census. Was he missed by the enumerator? Or was he a later-adopted son?
The couple also had a boarder, identified by the 1930 enumerator as one Esther “Larson,” age 40, born in Russia, and similarly a speaker of the “Jewish” language.
*******
The New York Birth Index identifies a baby boy, Robert Spiegel, as one of many babies having been born in the city on January 21, 1932.
*******
On May 21, 1936, Samuel committed suicide by hanging in the family residence, a tenement apartment located at 1168 Union Avenue, in the Bronx. Although, based upon the date of birth that Samuel used for official governmental purposes he was age 44, the death certificate stated that he was age 43.
Fannie engaged the Gordon Funeral Home to prepare him for burial.
Strangely, although Samuel’s headstone accurately identified him in Hebrew as Schmuel Spiegel, son of Avraham, it inexplicably incorrectly stated that he died at age 40.
Fannie of course knew her husband’s real age; both of them signed the marriage certificate that had Samuel’s correct age listed. Furthermore, Samuel had petitioned for citizenship in 1911, and stated that his date of birth was January 18, 1892.
Why would Fannie commission a headstone with a false age? Perhaps she, like her son, was a compulsive liar. Maybe that’s where Robert got it from.
*******
The 1940 census has Fannie (identified as age 38), Robert (identified as age 8), and Fannie’s son/Robert’s brother, Irving Spiegel, age 13, as living with Fannie’s 72-year-old mother, Esther Fleisfeder, at 1537 Fulton Avenue, in the Bronx. Fannie and Esther were identified as widows. Esther was identified as “U” (unable to work), while Fannie was identified as engaged in housework. No source of income for the family was identified.
No explanation is obvious regarding where Irving was living in the census taken a decade previously. Was he adopted?
There is no “Irving Spiegel” listed in the New York Birth Index for either 1926 or 1927. There is an “Irving Spiegal” listed, who was born April 29, 1926. But he is not Irving Spiegel.
I initially thought that perhaps Irving might be one of the unnamed Baby Boy Spiegels born in New York in 1926 or 1927, and that he left the hospital unnamed because his parents were waiting for his bris before naming him. However, Robert left the hospital with the name Robert. Why wait until the bris to name one child, but not the other?
*******
Slightly less than two years after she was enumerated in the 1940 census, Fannie’s mother Esther died, at home, at 1537 Fulton Avenue. The causes of death were “Coronary Thrombosis, Pulmonary Oedema Nephritis, Hypertension, Arteriosclerosis.” Esther left this world on February 6, 1942, the same day that the W. L. Steed was torpedoed, shelled and sunk less than a hundred nautical miles east of the mouth of Delaware River by a German submarine.
She was buried at Mount Moriah Cemetery in Fairview, New Jersey, the same cemetery where her son-in-law Samuel was interred.
*******
On November 12, 1943, Fannie, now residing at 1985 Bathgate Avenue, in the Bronx, petitioned for citizenship. She claimed, in that document bearing her signature, to be fifty years of age, meaning that if she was telling the truth, she would have been born in approximately 1893.
*******
On January 19, 1948, Robert (having assumed a false date of birth, that being January 18, 1931), enlisted in the New York National Guard. On paper, he had turned age 17 the day before his enlistment. In reality, he would be turning age 16 two days after his enlistment.
On December 9, 1949, Robert was discharged from the national guard, apparently for having been AWOL.
The discharge document identifies his address as being 1985 Bathgate Avenue, New York City.
*******
The 1950 census places Robert again at 1985 Bathgate Avenue, New York City. It correctly identifies him as age 18, and states that he worked as a shipping clerk for a newspaper company.
According to the 1950 census, Robert resided at the Bathgate Avenue address with his mother Fannie, who was purportedly still age 50 (seven years after she had previously claimed to immigration authorities to be age 50), and Robert’s brother Irving, age 24.
Irving was listed as unemployed and moreover, according to the census record, had not worked for the prior year. Fannie was employed full-time as a milliner in a hat factory.
*******
Military records reflect that Irving J. Spiegel, born in 1926 and a resident of 1985 Bathgate Avenue, who had completed two years of high school education, had flown bomber planes over Germany during the war. In his military documents, Irving described himself as single, with two dependents.
*******
On February 2, 1929, a baby girl given the name Aileen Beverly Leone Maxwell was born in Lucea, Hanover, Jamaica, to William Maxwell and Daisy (nee Tibbits) Maxwell. Her birth was registered by her parents.
*******
In 1954, Robert Spiegel and Aileen Maxwell were married in New York City. Their marriage license was given License No. 10284.
*******
The following year, the Kingston, Jamaica, Gleaner reported on June 6, 1955:
Miss Leonie Maxwell, daughter of Mr. and Mrs. W. J. Maxwell, was married recently in New York City to Mr. Robert Spiegel of the U.S.A. Both the bride and groom are students at the New York Institute of Dietetics. The bride left the island nearly two years ago for New York. Her wedding gown was chantilly lace and nylon tulle. The bodice was fashioned with a wide, scalloped neckline and elbow-length sleeves. Her three tier skirt of chantilly lace was over pleated nylon tulle. Her fingertip-length veil was adorned with pearls.
*******
If the claim regarding the couple studying at the New York Institute of Dietetics was even true, their studies at this institution didn’t last long. In May of 1956, a number of advertisements bearing Robert’s photograph appeared in the Kingston, Jamaica Gleaner. The advertisements described Robert as a psychologist, author, lecturer, and “practitioner in auto suggestion,” and identified him as “Dr. J. Robert Spiegel.” Readers were invited to come meet Robert on May 21, 1956, at Record Plaza, where he would be autographing his “latest” “world-wide” 33 and 1/3 RPM record, “How to Stop Smoking in 7 days by Auto-Suggestion.”
*******
On May 1, 1959, three residents of 1985 Bathgate Avenue, Bronx, New York, came through customs, having returned from a trip to Jamaica. They identified themselves as “Robert D. Spiegel” born in New York (in addition to giving himself a false middle initial, Robert neglected to complete the I-94-A fully, specifically by leaving his birthdate blank), “Leonie A. Spiegel” born in Jamaica on February 2, 1929, and their minor daughter, and “Sharon S. Spiegel,” born in New York. Someone also neglected to fully complete Sharon’s I-94-A, specifically by leaving her birthdate blank.
*******
Leonie had taken Sharon to Jamaica two years earlier. There are no publicly available records pertaining to their outbound transport from the United States to Jamaica. There is, however, a record pertaining to their return to the United States. That publicly available record does not provide their address, but Sharon is identified as weighing 1 stone 5 pounds (a total of 19 pounds), and Leonie is identified as weighing six stone 5 pounds (89 pounds). Interestingly, Leonie used the name “Aileen Spiegel,” and the records assert that Aileen has no middle initial. Aileen was / is her true legal first name, but it is a lie to say that she has no middle initial.
*******
Almost two years later, on January 5, 1958, the Kingston, Jamaica Gleaner reported:
Staying at the Tamarind Hotel are Mr. and Mrs. Bob Spiegel and daughter Sharon of Miami, Florida. Mrs. Spiegel is the former Leonie Maxwell, daughter of Mr. and Mrs. W. J. Maxwell of Lucea and has been in the United States for several years. A welcome party in their honour was given last Saturday night by Messers. Horrace, Ray, and Dennis Maxwell, brothers of Mrs. Spiegel. It was a very enjoyable affair.
*******
In 1963, roughly five years after their 1958 visit to Jamaica, Leonie petitioned for naturalization, in Louisiana. Although I am in possession of the index showing that she petitioned in 1963, I do not possess the petition itself. However, the fact that she petitioned for naturalization in Louisiana demonstrates that that at least she was residing in Louisiana at the time. Since she stated that she didn’t leave Robert’s side for over 40 years, presumably Robert, young Sharon, and also baby Michelle were living in Louisiana at that time.
*******
People who knew Robert personally relate that he stated that Leonie was a Cayman Island heiress. She wasn’t. Not only was she not born in the Cayman Islands, Leonie’s father’s estate was litigated (with the judge ruling against her) long before Robert started telling people that his wife was a Cayman Islands heiress.
Leonie’s father did leave an estate, but not to her. On November 9, 1967, the Gleaner reported that the Supreme Court had upheld the will of the late William Josiah Maxwell, the father of Horrace, Ray, Dennis, and Leonie, and the husband of Daisy Maxwell, who had contended that William’s signature was a forgery and that the person to whom his estate had been bequeathed had exercised undue influence. The court disagreed. The article reported:
The estate, which one of the executors described as “a sizeable one,” included 112 acres of land at Paradise and three houses at Lucea, Hanover.
*******
Robert apparently wasn’t banking on Leonie’s inheritance in any event. In May of 1966, advertisements appeared in the Houston Chronicle with Robert’s photo on them, selling a record that would purportedly assist people in stopping smoking in seven days. He identified himself as “Dr. J. Robert Spiegel.”
*******
On page 55 of the November 15, 1969, San Antonio, Texas Express and News, was an advertisement stating:
SCIENCE OF THE MIND
Dr. J. Robert Spiegel of Houston, director and founder of the Science of the Mind Foundation there, is conducting Sunday evening meetings at 7:30 p.m. in the Sheraton Inn, 1400 Austin Hwy.
*******
On page 4 of the July 10, 1970 edition of the Fort Worth Star-Telegram was a photograph of Robert, with a brief local news blurb:
GUEST – Dr. J Robert Spiegel of Houston, Science of Mind Foundation director, will speak at the 10:45 a.m. service tomorrow in First Church of Religious Science, 2001 6^th Ave. His subject is “What Religious Science Teaches.”
*******
On page 8 of the June 18, 1970 edition of the Houston Daily Cougar was this advertisement:
HOME OF UNIVERSAL LIFE
“Teaching Aquarian Meditation For The New Age
Meets Every Sunday, 11:00 A.M. At The World Trade Center Auditorium
Houston, Texas
DR. J. ROBERT SPIEGEL (BRAHMADANDA) DIRECTOR - FOUNDER
Aquarian Meditation Initiation for the first time offered through correspondence. For those sincere students wishing to bypass evolution and enter the 5th Kingdom. Initiation includes meditation technique, Mantra, how to "live” 24 hours a day, and much more. Write for application today:
P.O. Box 53328 Houston, Texas 052
*******
From the Galveston Daily News, May 02, 1971, Pg. 31:
AQUARIAN MEDITATION SOCIETY PRESENTS DR. J. ROBERT SPIEGEL AN AUTHOR, LECTURER, TEACHER OF YOGA & SELF DEVELOPMENT WILL SPEAK ON MAN, MIND & THE UNIVERSE WEDNESDAY, MAY 5th AT 7:30 P.M. IN THE RECREATION CENTER HARRIS COUNTY PARK, NASA RD. # 1 ALL WELCOME — DONATION $1.50
*******
The 1972 Spiritual Community Guide lists Robert twice, in the San Diego area. First, on page 117, using his alias “J. Robert Spiegel”:
THE TEMPLE OF METAPHYSICAL ABUNDANCE. J. Robert Spiegel, 1118 Torrey Pines Rd., 92037. Teaches yoga, nutrition, ESP, metaphysics, psychology, mind control
Second, on page 124, in which he, as one might have predicted, was masquerading as some sort of medical man or scholar:
"AQUARIAN MEDITATION SOCIETY, U. S. Grant Hotel, Attn: Dr. Robert Spiegel, 453-7588"
*******
Also in 1972, Volume 25 of San Diego Magazine published in November advertised gift certificates for the “Astrology Research Center.” “Give your loved one the gift of love. Only $50” said the advertisement. Where was this entity located? At 1118 Torrey Pines Road, the same address as Robert’s Temple of Metaphysical Abundance. The advertisement purported that person identified as “Lil Canaan” was the director. The telephone number was 459-6400.
In 2013, the San Diego Union Tribune published the obituary for Lillian Mulonas, who founded the La Jolla “Astrology Research Center.” At this point in time, unless Robert Adams’ only surviving daughter, Michelle/ Prentiss/ Avantae knows the answer and talks, we will not know what relationship, if any, existed between Robert’s Temple of Metaphysical Abundance and Lilian’s Astrology Research Center, both of which were located at 1118 Torrey Pines Road in 1972.
*******
From the July 12, 1973, San Diego Reader:
BRAHMADANDA FOUNDATION
“Teachings of the Cosmic Way” meets Sundays, 11:00 a.m., U.S. Grant Hotel, Crystal Room. Free admission, refreshments served. Call 453-7588 for more information.
*******
On page 51 of the June 29, 1974 edition of Phoenix’s Arizona Republic was the following advertisement:
Speaker from San Diego
Dr. J. Robert Spiegel from San Diego, a traveler and lecturer, will speak at 8 p.m., Friday in Universal Series Center, 4340 N. Seventh Ave., on the topic “Science of Being.”
He is the founder of the “Aquarian Meditation Society” in Jamaica and is founder and publisher of “Equinox,” a philosophical newspaper.
*******
The family (Adams or Spiegel, however one might want to refer to them) have resided in (that I know of) New York, Miami, Jamaica, Louisiana, La Jolla, Los Angeles, Houston, New Mexico, Hawaii, Las Vegas, Scottsdale, Sedona, and a number of cities in North Carolina.
*******
In at least the 1990’s, before he left for Sedona, Robert Adams used the address PO Box 7210, Jordan Avenue, D-30, Canoga Park, CA. He used that address on correspondence he wrote, and on at least one published document. Who else used that address? The data aggregators show that this address was also used by a Michelle K. Spiegel, and a person going by the name Leonie Maxwell. Michelle and Leonie also used other addresses associated with Robert, those being 1815 Willis Avenue Panorama City, and 21551 Burbank Boulevard, Woodland Hills.
*******
The California Birth Index shows that Michelle K. Spiegel was born on October 1, 1960, in Los Angeles County, to a mother with the maiden name Maxwell.
*******
In later life, Michelle used the addresses above that are associated with Robert and Leonie, as well as an address of 12004 Vanowen Street #14, North Hollywood. This is the same address at which Denniston Keith Maxwell, one of Leonie’s younger brothers, resided at, after his immigration to the United States. Denniston was one of Michelle’s uncles.
In a recent Facebook posting, Michelle/Avantae stated: “Never knew anything personal about said uncles, etc. Never asked, never cared.” Really? She shared an address with an uncle? Her uncle lived within a few minutes’ drive from her parents, and Michelle/Avantae never knew anything about him?
As an aside, Michelle/Avantae alleged (or admitted) that she “never cared” about anything personal regarding her uncles. If that is true, what does that tell us about Michelle/Avantae’s fundamental character? Antisocial? Psychopathic? Narcissistic in the extreme?
*******
On August 2, 1996, Michelle, going by the name Avantae E. Deven, married Tyson Ruben Alvarez in Las Vegas. The two had addresses in common in Arizona, Nevada, and Montana.
*******
Robert “Adams” died on or about March 2, 1997, in Sedona, Arizona.
Shortly after that, in the spring of 1997, “Nicole Adams” and “Avantae Deven” (both aliases; the correct legal names are Aileen Beverly Leonie Spiegel and Michelle K. Spiegel) purchased a home together in Sedona, on Navahopi Road. Shortly after the purchase, “Nicole” quit-claimed her portion to “Avantae.”
On July 17, 2001, Tyson, still married to “Avantae,” quit-claimed any interest in the Navahopi property to “Avantae,” and had the county recorder send the deed to “Avantae” in care of the Infinity Institute, at that time located at 9101 W. Sahara Ave. Suite 105 C29 (in other words, a private post box), in Las Vegas.
Avantae divorced Tyson in 2006. She had, by then, moved to North Carolina. She “served” Tyson via publication summons, claiming that she was unable to find him, despite his information being on multiple data aggregators.
You can go to various Facebook groups, and other sources, to pull up the documents that people have uncovered showing who is associated with the "Infinity Institute," and in what fashion, and also the addresses that they have used over the years.
In any event, this is the information regarding Robert that I think that people need to be aware of.
Why turn to a known liar and con man for spiritual guidance?
1A tallis is a prayer shawl.
2The ship’s manifest states that he was age 14, which conflicts by one year with what Samuel identified as his date of birth. These errors are not uncommon; his fare could have been purchased when he was age 14 and the records not updated.

So, the Roland TR-8's Reverb Time is MIDI CC #89 and Delay Time is #17... But what does their value mean ? Do they express time or bar fractions ? Has anyone produced a mapping of the MIDI CC values to units more useful to musicians ?
Yes, that may be researched by measuring time between peaks on a graph of sound intensity over time... But I would love sparing myself the tedium !

Hello folks,
I've been using Serato Stems VST for stem separation inside Ableton and I'm facing a strange issue with the gain levels.
When I load the same audio track into a track with Serato Sampler VST and another directly as an audio file, Serato Sampler applies a -6dB reduction to the sample when triggered by a MIDI note.
I made sure the velocity is set to 127, checked channel faders, and all parameters inside the Serato Sample VST, but the issue persists.
Does anyone know why this automatic gain reduction happens and how to disable it? I've tried tracks with different peak levels, but there's always a -6dB reduction.

Hey yall! This is a weird one because after Chapter 3 dropped on Patreon I actually went back and dropped a new Chapter 1. So this "Chapter 4" is actually a new Chapter 1 (moving Chapters 1, 2, and 3 to the 2, 3, and 4 slots respectively) and later this week I'll release the true Chapter 5 to get us back on track!
Sorry for the confusion! Releasing novel chapters on Patreon is always wacky compared to a true serial haha.

MAJOR EDIT:

TURNS OUT WHEN I RELEASED 'CHAPTER 1' A COUPLE WEEKS AGO, THIS "NEW" CHAPTER 1 WAS WHAT I RELEASED. SO INSTEAD I'M GOING TO ALSO LINK YOU TO THE OLD CHAPTER 1, WHICH YOU GUYS NEVER SAW, I'M SORRY.
THIS OLD CHAPTER 1 IS THE TRUE CHAPTER 2. SO SORRY TO THE PUBLIC RELEASE READERS WHO READ CHAPTER 3 BEFORE CHAPTER 2 XD
*********
Hi all! A few rules & reminders:

1. To read the chapter, download the free PDF from the Wraithmarked Patreon post(s) here:
   1. NEW CHAPTER 1 (PREVIOUSLY RELEASED): https://www.patreon.com/posts/early-access-3-1-95111466
   2. OLD CHAPTER 1 (NOW CHAPTER 2. UNRELEASED): https://www.patreon.com/posts/92301055
2. ★ ABSOLUTELY NO STORMWEAVER III SPOILERS OUTSIDE THESE POSTS ★ (unless someone specifically requests them, in which case you can message them directly). Please respect the rights of those readers who do not want to read the book chapter by chapter! Any flaunting of this rule will be handled with prejudice. The quality of this community as a whole is much more important to me than your personal desire to show off that you know something other people don't. This includes comments like "No spoilers, but this is addressed in book III" and the like. Yes, that IS a spoiler in its own right.
3. Public Release chapters will release 10 chapters behind the Patreon release of Early Access chapters. Public Release chapters will likely release 24 to 72hrs after the Early Access chapters (that will most often be the Monday morning after the Friday Early Access drop), so the sub announcement posts for each have a chance to gain traction.
4. Recall that these are rough chapters, with no editing other than a single pass-through as I write.
5. On a similar note, I am not asking for advice or corrections at this time. Feel free to chat/criticize/disparage, but please DO NOT tag me. If I want feedback, I/Wraithmarked will certainly reach out, thank you!

Hello again...
It has been a while...
This month marks two years since I began this gargantuan task of translating Dogra Magra. I couldn't believe that I began this at my first year and now I'm about to end my third year. I'll admit that progress has been very slow. It has been eating at me how slow I've been working. I've at least 250 or so pages to go, and yet, it feels like I'm Sisyphus painfully rolling that stone up the hill, but in my case, I couldn't even get to the peak.
I apologize for the delay. I know I said that I'd give the update on the 23rd of April, but it's now May 15 (where I'm from). I'm sorry.
I picked this date to celebrate the birthday of Mikhail Bulgakov, whose work, The Master and Margarita, is, alongside The Brothers Karamazov, my favorite novel of all time. It was this magic I need after the various novels of realism I had been buying these days. I needed this profound book infused with biting satire and an absurd yet funny plot to bring variety to my readings. A definite reading, I say. I've read it three times the past two months since I bought it...
Third year is almost over, and yet I feel that it had been draining what remained of my enthusiasm for anything. From documentaries to researches to a live TV broadcast, I felt that I've been too tired to do anything these days. And yet, after this comes the mandatory OJT. I can only pray that my will to write continues to stay strong.
I will admit... I had somewhat lost my enthusiasm with translating. It was painful to even look at my text. I was already considering just vanishing altogether and moving on. I began to doubt myself as I always have, but even stronger than before. Thoughts of inadequacy, of mediocrity, of self-hatred just came to me.
But, I had an epiphany. A certain user told me how much he liked my translation, and he felt the hard work I put into doing it. I realized that my work was not in vain. In this one user, I found that I had successfully given Q-san's words light in the English language. I, an amateur, had managed to give Q-san's words the honor it deserves.
And now, looking back at my text, yet to be edited, filled with some errors, and 200 plus pages long, instead of dread and hatred, I felt pride and wonder at myself for the work I had done. And juggling this with college was even more impressive looking back.
So, I came back and tried to churn out a good number of pages in the week before today. I was rusty, I admit, but I made it up with my newfound enthusiasm. I am now confident that I can deliver Q-san's words to the English audience the best way and with quality that will be unlike any cheap translated text found online.
I have been rereading my two books by F. Scott Fitzgerald (The Great Gatsby, Tender is the Night), and I realize that I want my English to shine as much as Fitzgerald when I put this Japanese text to English. I want it to glimmer out the pages, to leave nothing wasted. He is my ideal of what beautiful modern English is (I put "modern" to distinguish from Shakespeare or Chaucer).
So, if it will be alright for you people, just keep watching, because I will continue to present Q-san's works to you, and I will ensure its completion no matter how long! So stay tuned, and keep reading!
The problem now is a date... It is rather difficult to decide due to OJT. For now, I can only give an approximation. Perhaps around the last week of June would be for the best. If not, the first week of July would suffice.
Again, I apologize, and still hope you will continue to grant me a chance to do this.
And again, if there are any trouble about the text, do not hesitate to comment so that I can improve on it.
Au revoir! Auf Wiedersehen! 行ってきます! До свидания! Arrivederci! Good bye!
See you then!
https://drive.google.com/file/d/1GdCGl3quvSVJfQZ4Ku-2yylzEZvokjwa/view?usp=drivesdk

First off, note that my story has a happy ending (thus far.) But, mine is a case where I almost didn't even call for advice, and I'm so glad I did. I just wanted to encourage any other (especially first-timers) who like me, hemmed and hawed about going in for observation and explain why I have zero regrets about actually going in. This will be stupidly long but I really want others to see a non-scary story to just go if you have any question at all! TL;DR at the end for those who want it.
I am 29+5 today, and yesterday had a super minor fall at work at the end of the day. As in, I went to sit down on my rolling stool, missed slightly, and landed on my butt. I have to emphasize, I thought it was really no big deal - I fell almost in slow motion, didn't hit my belly, and was MUCH more embarrassed than hurt.
My baby even kicked me right afterwards as if to say, "Geez, Ma, what are you doing out there?" No cramps, no gush of fluid, no bleeding, and he was moving just fine.
Still, I had read plenty of times on this sub reddit, my baby books, and other sources that pretty much any fall at a certain point in the pregnancy warranted at least a phone call to the doctor. And my quick Google when I got home reiterated the same. Literally every single result said to call. So I did, and immediately buffered my question with "I'm sorry because this is probably a waste of your time, but I'm X far along and had Y type of fall happen, so I just wanted to do my due diligence and call." The receptionist was so lovely and didn't make me feel like a waste of time in the least bit.
She saw on my chart how far away from the hospital I am (40 minutes give or take depending on traffic) and said that since I wasn't having any bad symptoms and baby was moving, chances are the nurse wouldn't ask me to come in, but she wanted to make sure. A brief hold later and she said, "Actually, we do want you to come in to labor & delivery for a 1-hour observation, just in case. Any fall at this stage is worth getting checked out."
My heart sank a bit. I was honestly not even worried, and I hated the idea of wasting the gas, time, and whatever the observation would cost for them to just tell me everything is fine. On the flipside, obviously I take my son's safety very seriously, and decided that there's probably a reason they have a blanket recommendation to come in after a fall, even after I took pains to explain how much of a nothingburger it seemed to be.
Nonetheless, my husband and parents both insisted that I was doing the right thing by going in, and that they would all sleep better tonight knowing baby and I were both okay. My own birth was an emergency c-section at 30 weeks after my mom's amniotic fluid disappeared and I'd stopped growing around 26 weeks, so I can understand why my folks were of the better-safe-than-sorry mindset.
To try to make a long story short, we went to the hospital, they got me back right away because it was super quiet, and got me settled in with monitors. I could hear his heartbeat straight away, nice and strong, and heard, felt, and saw his kicks against the monitors lol. I already felt glad that we actually came in, because I think I was almost more afraid of the process of getting there than of anything actually being wrong. Plus, my next appointment isn't until the end of this month, so it would've been a long time to wait and wonder. After almost an hour, the doctor came in to check on us, and that's when I was utterly convinced this was NOT a waste of time.
She explained that my baby was looking great, but that I was having low level contractions (!!) She asked if I could feel them, but I couldn't, although I wasn't sure if that was because he was moving so much, or if they really weren't noticeable. She said this was normal after a fall, but could also be due to not eating enough or being dehydrated. I'd eaten a fairly normal amount yesterday and hadn't quite hit my water quota but had had a lot (maybe between 40-50oz?) So they had me stay another half hour or so just to make sure the contractions either stayed the same or slowed down. If they didn't, they would probably want me to stay 24 hours.
Luckily, at the end of it, they said the contractions slowed from when I first came in, and let me go. They just said to watch for any signs of premature labor.
All of that to say, I'm glad nothing too scary came of it (yet at least!) but I definitely learned my lesson not to overthink it about coming in. They recommended that I ask for a solid chair with a back at work, and said I could get a letter from my doctor issuing an accommodation for it if needed, which I appreciate. Otherwise, just going to be a little extra careful and wait and see. Hopefully my little one cooks for a while longer!
TL:DR - 29+4. Had a seemingly very light fall onto my butt at work, decided to call it in just to be safe, assumed I wouldn't have to go in, did have to go in, hemmed and hawed about it but I'm glad I went, because baby was fine but I was having light contractions and didn't know it. Contractions slowed down and I got to go home, but learned my lesson about not hesitating to get checked out!

Hello and welcome to my post. I would like to make a friend.
Here are my interests:
History. I have had an interest in history for almost a decade now, it started back in school and developed from there. Well, now that I think about it one could argue that it started even earlier in my life as I liked watching the odd historic documentary or film aired on television but it wasn't regular back then, I never actively sought it out. I am mostly interested in European history in the period between the 18th-20th century but I sometimes branch out to other time periods and other parts of the world. I watch various channels related to history and read articles and sometimes books. I have recently got a few books on the German revolution of 1848/1849 and a historical magazine on the Thirty Years' War. Besides that I try to visit museums sometimes.
Literature. Especially old novels. I like to immerse myself in the Worlds of these books, I tend to read them while listening to thematically fitting music and take my time with them. One time you are following a troubled Youth in his quest for spiritual understanding of the world, another you see the aged and decrepit Doctor gambling his very Soul on the promises of abtaining satisfaction in earthy pleasures, then again your olfaction notices the most pleasant scent known to man even as the one eminating it has the appearance of a revolting Frog. These and many other stories open up to you once you decide to set foot into the literary World.
Languages. I know three, with one being a bit rusty. I am currently working intently on strengthening it. I believe that if I continue to apply myself in this regard then I should be able to finally conquer it. What language am I working on? Well, if you were to stack all the major works in it they would be as tall as a house... It is fun to go through different works in multiple languages, the same goes for film, games and such.
Games. I recently played Cyberpunk 2077. Well as recently as I played any major story centric game. Now that the dust has settled and the bugs mostly removed...It's not that bad. The main questline at least. Besides that I tried Fallout 76 (Very average, I'm dissapointed with what they made the "RPG" system) and I might give Deus Ex Manking Divided another spin (since it's somewhat similar to Cyberpunk when it comes to its aesthetics). Dark Souls is one of my favorite series, I still haven't beaten Elden Ring though. When it came out I wasn't in the right mindset to invest a hundred hours into it, with all those bosses and difficult locations. I think I'll only consider playing it if I am streaming it to someone. I am generally interested in either streaming games or having the person I am talking to stream them to me. To be specific I mean streaming to a single person while being on call. Besides that I'm a big fan of Paradox strategy games, especially Europa Universalis IV and Heats of Iron IV, I tend to only play single player since I find multiplayer with many people to be rather stressful but on the other hand I have nothing against a co-op game. I'm not the best player though, despite the ammount of hours I have in them. Another great game I would mention would be Dragon's Dogma. A very underrated RPG. I recently beat it again and it was an atmospheric and interesting experience. It is one of those games that feel like they have an endless ammount of depth and constant new secrets to discover.
Anime and Manga. In recent times my interest in them has waned but I still watch the occasional series here and there. Like Cyberpunk Edgerunners (Which I found to be rather mediocre) and the very good first season from the new arc of Bleach. Some of my favourite series include: Fullmetal Alchemist Brotherhood, Death Note, Fate;Zero, Psycho Pass, Code Geass and Attack on Titan. I wouldn't mind if you were to introduce me to some new series, maybe based on the ones I mentioned. My favourite Manga is Berserk which I still follow, althought I am still not certain on the direction that the new author is taking. I suppose it really is a matter of contention whether a somewhat (or considerably warped) vision is better than an unfinished work. One could argue that a few novels remain unfinished and possess a macabre appeal to them as such.
Music. Classical music has a very special place in my heart. A few of my favourite pieces would be: Clair de Lune, Nocturne Op. 9 No.2, Devil's Trill Sonata, Danse Macabre, Valse Sentimentale, Symphony No. 7 in A Major, Op. 92: II. Alegreto (by Beethoven) and Suite from Swan Lake, Op. 20a: I. Scene. Moderato. There are more but these ones always invoke something in me when I listen to them. Besides Classical I also enjoy listening to Synthwave, old Western pop and J-pop, both modern and from the 20th century.
Well that about wraps it up for my interests. I would like to add a few things before I finish. I am neurodivergent (autism spectrum) and struggle with mental health. I respect the struggles others have but due to certain negative experiences I do not want to befriend people with BPD and such. In fact I would prefer another Aspie. I am rather introverted and I do not have a large social circle. If I like someone I want to spend as much time with them as possible. I have been hurt in the past by caring about someone much more than they about me so I would like to avoid such things now. Also, since this might bother some, I am reasonably conservative in my views.
If you decide to message me I ask that you send a DM instead of a chat and put the English translation of my title as your own. Take care.

Hello and welcome to my post. I would like to make a friend.
Here are my interests:
History. I have had an interest in history for almost a decade now, it started back in school and developed from there. Well, now that I think about it one could argue that it started even earlier in my life as I liked watching the odd historic documentary or film aired on television but it wasn't regular back then, I never actively sought it out. I am mostly interested in European history in the period between the 18th-20th century but I sometimes branch out to other time periods and other parts of the world. I watch various channels related to history and read articles and sometimes books. I have recently got a few books on the German revolution of 1848/1849 and a historical magazine on the Thirty Years' War. Besides that I try to visit museums sometimes.
Literature. Especially old novels. I like to immerse myself in the Worlds of these books, I tend to read them while listening to thematically fitting music and take my time with them. One time you are following a troubled Youth in his quest for spiritual understanding of the world, another you see the aged and decrepit Doctor gambling his very Soul on the promises of abtaining satisfaction in earthy pleasures, then again your olfaction notices the most pleasant scent known to man even as the one eminating it has the appearance of a revolting Frog. These and many other stories open up to you once you decide to set foot into the literary World.
Languages. I know three, with one being a bit rusty. I am currently working intently on strengthening it. I believe that if I continue to apply myself in this regard then I should be able to finally conquer it. What language am I working on? Well, if you were to stack all the major works in it they would be as tall as a house... It is fun to go through different works in multiple languages, the same goes for film, games and such.
Games. I recently played Cyberpunk 2077. Well as recently as I played any major story centric game. Now that the dust has settled and the bugs mostly removed...It's not that bad. The main questline at least. Besides that I tried Fallout 76 (Very average, I'm dissapointed with what they made the "RPG" system) and I might give Deus Ex Manking Divided another spin (since it's somewhat similar to Cyberpunk when it comes to its aesthetics). Dark Souls is one of my favorite series, I still haven't beaten Elden Ring though. When it came out I wasn't in the right mindset to invest a hundred hours into it, with all those bosses and difficult locations. I think I'll only consider playing it if I am streaming it to someone. I am generally interested in either streaming games or having the person I am talking to stream them to me. To be specific I mean streaming to a single person while being on call. Besides that I'm a big fan of Paradox strategy games, especially Europa Universalis IV and Heats of Iron IV, I tend to only play single player since I find multiplayer with many people to be rather stressful but on the other hand I have nothing against a co-op game. I'm not the best player though, despite the ammount of hours I have in them. Another great game I would mention would be Dragon's Dogma. A very underrated RPG. I recently beat it again and it was an atmospheric and interesting experience. It is one of those games that feel like they have an endless ammount of depth and constant new secrets to discover.
Anime and Manga. In recent times my interest in them has waned but I still watch the occasional series here and there. Like Cyberpunk Edgerunners (Which I found to be rather mediocre) and the very good first season from the new arc of Bleach. Some of my favourite series include: Fullmetal Alchemist Brotherhood, Death Note, Fate;Zero, Psycho Pass, Code Geass and Attack on Titan. I wouldn't mind if you were to introduce me to some new series, maybe based on the ones I mentioned. My favourite Manga is Berserk which I still follow, althought I am still not certain on the direction that the new author is taking. I suppose it really is a matter of contention whether a somewhat (or considerably warped) vision is better than an unfinished work. One could argue that a few novels remain unfinished and possess a macabre appeal to them as such.
Music. Classical music has a very special place in my heart. A few of my favourite pieces would be: Clair de Lune, Nocturne Op. 9 No.2, Devil's Trill Sonata, Danse Macabre, Valse Sentimentale, Symphony No. 7 in A Major, Op. 92: II. Alegreto (by Beethoven) and Suite from Swan Lake, Op. 20a: I. Scene. Moderato. There are more but these ones always invoke something in me when I listen to them. Besides Classical I also enjoy listening to Synthwave, old Western pop and J-pop, both modern and from the 20th century.
Well that about wraps it up for my interests. I would like to add a few things before I finish. I am neurodivergent (autism spectrum) and struggle with mental health. I respect the struggles others have but due to certain negative experiences I do not want to befriend people with BPD and such. In fact I would prefer another Aspie. I am rather introverted and I do not have a large social circle. If I like someone I want to spend as much time with them as possible. I have been hurt in the past by caring about someone much more than they about me so I would like to avoid such things now. Also, since this might bother some, I am reasonably conservative in my views.
If you decide to message me I ask that you send a DM instead of a chat and put the English translation of my title as your own. Take care.

Hello and welcome to my post. I would like to make a friend.
Here are my interests:
History. I have had an interest in history for almost a decade now, it started back in school and developed from there. Well, now that I think about it one could argue that it started even earlier in my life as I liked watching the odd historic documentary or film aired on television but it wasn't regular back then, I never actively sought it out. I am mostly interested in European history in the period between the 18th-20th century but I sometimes branch out to other time periods and other parts of the world. I watch various channels related to history and read articles and sometimes books. I have recently got a few books on the German revolution of 1848/1849 and a historical magazine on the Thirty Years' War. Besides that I try to visit museums sometimes.
Literature. Especially old novels. I like to immerse myself in the Worlds of these books, I tend to read them while listening to thematically fitting music and take my time with them. One time you are following a troubled Youth in his quest for spiritual understanding of the world, another you see the aged and decrepit Doctor gambling his very Soul on the promises of abtaining satisfaction in earthy pleasures, then again your olfaction notices the most pleasant scent known to man even as the one eminating it has the appearance of a revolting Frog. These and many other stories open up to you once you decide to set foot into the literary World.
Languages. I know three, with one being a bit rusty. I am currently working intently on strengthening it. I believe that if I continue to apply myself in this regard then I should be able to finally conquer it. What language am I working on? Well, if you were to stack all the major works in it they would be as tall as a house... It is fun to go through different works in multiple languages, the same goes for film, games and such.
Games. I recently played Cyberpunk 2077. Well as recently as I played any major story centric game. Now that the dust has settled and the bugs mostly removed...It's not that bad. The main questline at least. Besides that I tried Fallout 76 (Very average, I'm dissapointed with what they made the "RPG" system) and I might give Deus Ex Manking Divided another spin (since it's somewhat similar to Cyberpunk when it comes to its aesthetics). Dark Souls is one of my favorite series, I still haven't beaten Elden Ring though. When it came out I wasn't in the right mindset to invest a hundred hours into it, with all those bosses and difficult locations. I think I'll only consider playing it if I am streaming it to someone. I am generally interested in either streaming games or having the person I am talking to stream them to me. To be specific I mean streaming to a single person while being on call. Besides that I'm a big fan of Paradox strategy games, especially Europa Universalis IV and Heats of Iron IV, I tend to only play single player since I find multiplayer with many people to be rather stressful but on the other hand I have nothing against a co-op game. I'm not the best player though, despite the ammount of hours I have in them. Another great game I would mention would be Dragon's Dogma. A very underrated RPG. I recently beat it again and it was an atmospheric and interesting experience. It is one of those games that feel like they have an endless ammount of depth and constant new secrets to discover.
Anime and Manga. In recent times my interest in them has waned but I still watch the occasional series here and there. Like Cyberpunk Edgerunners (Which I found to be rather mediocre) and the very good first season from the new arc of Bleach. Some of my favourite series include: Fullmetal Alchemist Brotherhood, Death Note, Fate;Zero, Psycho Pass, Code Geass and Attack on Titan. I wouldn't mind if you were to introduce me to some new series, maybe based on the ones I mentioned. My favourite Manga is Berserk which I still follow, althought I am still not certain on the direction that the new author is taking. I suppose it really is a matter of contention whether a somewhat (or considerably warped) vision is better than an unfinished work. One could argue that a few novels remain unfinished and possess a macabre appeal to them as such.
Music. Classical music has a very special place in my heart. A few of my favourite pieces would be: Clair de Lune, Nocturne Op. 9 No.2, Devil's Trill Sonata, Danse Macabre, Valse Sentimentale, Symphony No. 7 in A Major, Op. 92: II. Alegreto (by Beethoven) and Suite from Swan Lake, Op. 20a: I. Scene. Moderato. There are more but these ones always invoke something in me when I listen to them. Besides Classical I also enjoy listening to Synthwave, old Western pop and J-pop, both modern and from the 20th century.
Well that about wraps it up for my interests. I would like to add a few things before I finish. I am neurodivergent (autism spectrum) and struggle with mental health. I respect the struggles others have but due to certain negative experiences I do not want to befriend people with BPD and such. In fact I would prefer another Aspie. I am rather introverted and I do not have a large social circle. If I like someone I want to spend as much time with them as possible. I have been hurt in the past by caring about someone much more than they about me so I would like to avoid such things now. Also, since this might bother some, I am reasonably conservative in my views.
If you decide to message me I ask that you send a DM instead of a chat and put the English translation of my title as your own. Take care.

Found this very interesting interview. Read the tl;dr part if you hate reading longass walls of text.
Note: Page 1 is mostly about Ryou's early days as a struggling novelist, then mangaka assistant and then mangaka and workflows during analog and digital era, the only important part is that Boy's Abyss is... not much of a culmination of her mangaka career, but a work where she can satisfy her ego the most, so i skipped them due to time. Pages 2, 3 and 4 have more info about Abyss.
PART 2: ABOUT BACKGROUND DESCRIPTIONS THAT SUPPORTS THE HUMAN DRAMA
Sauce: https://youngjump.jp/comic_award/interview/2024/05/index2.html
--How do you decide on the locations for your works?
It depends, but I tend to choose places where I have spent time in the past or places that remain in my memory.
--I see. Is there anything important to remember in order to recall the right location for the scene?
You can't open a drawer where there isn't one, so I think it's important to look at various places on a regular basis to increase the number of drawers.
--In "Shounen no Abyss", bridges seem to appear many times in important scenes, including in the first episode. Is this intentional?
Yes, it is. In the first episode, I put the bridge as a kind of borderline between life and death, and I think that the readers came to feel the danger from the bridge. So I may have consciously chosen to use a bridge in decisive scenes. Also, since Reiji is a person who cannot decide for himself whether to live or die, I have him hovering on the bridge, which is between life and death.
(Footnote for a panel from ch. 2: From the second chapter, "Incognito Date". The location of the bridge makes us feel more that Reiji is wandering between life and death.)
--I see. By having them perform on the bridge, you are also conveying the character's condition and humanity.
(Footnote with a page from ch.87: From episode 87, "After the dream". In episode 87, which is set in Tokyo, Reiji's wavering state of mind is expressed in detail using a bridge as a stage.)
--I feel that the timing of the rain is also very well thought out.
Rain is an indispensable element in a gloomy work like this, so I often think about the weather from the plotting stage. Also, when I draw rain, I imagine myself being in the rain. It is cold, my clothes stick to my skin, it gets in my eyes.... I hope that the reader can feel these things.
(Footnote with the page where Akira betrays Shino'oka and gives in to Yuko's temptation in ch102: From Chapter 102, "Amid the Overflowing Water". The texture of the rain effectively shows Nozoe's inclined mind.)
--you have to think about what kind of environment the person is in and what kind of air he/she breathes.
I think it depends on the type of work. For my works, that kind of accumulation is important, but there are also works where other things are important. I think you should think about it according to the kind of work you want to paint.
PART 3: ABOUT THE PICTURE DESIGN THAT SUPPORTS THE WORK
Sauce: https://youngjump.jp/comic_award/interview/2024/05/index3.html
--I assume that it was difficult to learn to draw pictures from a place with no experience in manga.
I learned by trial and error while actually drawing. Even now, I still have a hard time with drawings.
--I see. I (the interviewer) like the pictures in "Shounen no Abyss" very much because they match the content of the story, but it seems to me that you have changed the design of the pictures quite a bit from your past works. How did you decide on the style?
When I started my first serial, "Hoboreru Hanabi", I didn't have time to choose the style yet, so I drew what I could draw at the time. From the next serial, "Himegoto: Juukyuusai no Seifuku," I started to think about "making the eyes a little bigger" or "adding deformation.
--In the next serial work, "Hatsukoi Zombie," you used a much more deformed style of drawing. Why is that?
I think it was because it was serialized in a shounen magazine called "Shounen Sunday. I was conscious of the drawings of Rumiko Takahashi, who I have been a fan of for a long time.
--Did you have the medium of "Weekly Young Jump" in mind when you created the artwork for "Shounen no Abyss"?
If anything, I tried to make the design more in line with the content of the book. Considering the content, for example, it was difficult to use the same body size and eye size as the characters in "Hatsukoi Zombie". However, in the case of "Shounen no Abyss," the reality line differs slightly from character to character, and the way in which deformation is added is different for each character.
--Do you have any advice for new artists who want to improve their drawing?
I think it is important to be aware of the importance of observing what you are drawing. If you just draw from your imagination, you will end up with buildings whose structures you don't know, or wrinkled clothes that don't convey the texture of the wearer's clothing, which is a habit of mine. The result is a worldview that is not convincing. In this age of the Internet and other sources of information, it is important to observe the subject matter carefully and draw it, rather than making rough guesses.
--Do you still search for materials when you draw props, backgrounds, etc.?
Yes, I do. For example, I think about "What kind of room would this person live in?", "What kind of shoes would she wear?", "What kind of car would she drive? I think that the accumulation of such details leads to the sense of daily life that is conveyed in the work.
From episode 19, "seducer". The decor and accessories in Chako's room give us a sense of her life. (there was a page from that chapter i can't put in the post, gomwnnasai, gomennasai, gomennasai....)
End of part 3
PART 4: ABOUT WEEKLY SERIALIZATIONS (this is the important shit)
Sauce: https://youngjump.jp/comic_award/interview/2024/05/index4.html
-I feel that "Shounen no Abyss" has a great live-action feel to it. The characters' actions and the development of the story are unpredictable, and each time I am surprised to see how the story will unfold. Do you have a rough idea of how the story will unfold?
There is a general flow of the story, but basically, I myself draw the story while excitedly thinking, "Well, what will this person say or do on the next page?" In a nutshell, is this a romcom in which Reiji meets a variety of women and decides who he will fall in love (or into the abyss)? It's something like that (T/N: Ryou answered like questioning and answering to herself in the last paragraph of this section)
--I have heard that the starting point of the project for "Shounen no Abyss" was "a story about a double suicide" Do you often draw the story with the theme in mind?
Yes, I decide on the axis to some extent at the beginning. If there is nothing at all, the project itself will not be communicated, and it will be difficult to start a serialization.
--I think that in a weekly serialization, it is necessary to attract the reader intensely in the first episode. What were you conscious of in the first episode of "Shounen no Abyss"?
It's an ensemble piece, so I was conscious of showing all the main characters in the first episode. I also decided to make a memorable appearance of the heroine, Nagi, in the last part of the episode. I also thought about the order of the characters that Reiji meets. First, he meets Shiba-chan, who is outside of his interest, and then he meets and talks with his friend Chako. Then his childhood friend Gen would appear, and things would take a turn for the worse. Then, his family, which is the most painful existence for Reiji, makes an appearance. Then he crosses paths with a mysterious man, and finally a beautiful and bewitching woman appears. In order to make it easier for the reader to enter the world of the work, I made the flow of the story gradually fall into darkness.
--It's like Reiji is going down a flight of stairs one step at a time.
Yes, Nagi is waiting for him when he descends the last step. I changed the background accordingly. When he is with his friend Chako, the sun is out, and when the sun begins to set, he meets his family, and by the time he meets Nagi, it's already nighttime.
--I'm so impressed...! You have built in the backgrounds and elaborated on the details.
(Footnote for 2 pages from the 1st chapter that were shown: Both are from the first episode, "The Boy from That Town". He meets his friend Chako on his way to school in the daylight, but by the time he meets his family, it is dark and shadowy outside. The contrast of the background also depicts Reiji's descent into darkness.)
--What are the most important things outside of your work when working on a weekly series?
Physical strength is important. I also think it is important to keep your mind clear and avoid unnecessary stress. There are many times when I think, "I should have done this better," or "It will be difficult this time because I did that last time," but there is no use in overthinking things, so I try to switch over as soon as possible.
--Finally, do you have any advice for new artists?
I think it is important to have a lot of input while you are young, and to push your luck a little in creating your work.
--Thank you for your valuable talk!
Now, the tl;dr:
-2: Bridges in this manga are used as a gate between life and death.
-1: rain is important in this manga to depict the characters' overflowing emotions.
0: Ryou had to choose carefully the type of atmosphere and air for this manga.
1: Ryou drew Drowning Fireworks on a rush and could define a proper style, she shifts styles according to the tone and magazine shenis doing her works for.
2: She had to study locations and interior plaves to depict characters, their lives and mental states.
3: Boy's Abyss is a romcom on its structure. And the characters were introduced in a way you could instantly get familiarized with from the start, as it's an ensemble work.
4: characters were introduced in a way you can feel Reiji is going downstairs into the abyss. Yuri being the first because she's the character he's the least interested into, Chako next because she's the sun, the light, she's Kana Arima... okno, and Nagi last because she's Chako's thematical opposite and had to have an impactful introduction. and the endgame and endgoal are already decided since day one. Nagi is waiting for Reiji to do the last step
5: a good physical condition, being resourceful and brave enough are the keys for a successful weekly story.
That's it. See ya tomorrow.

Hi all, I am looking for some advice. I will try to keep this post as objective as possible, to hope to receive guidance regarding the situation I am in.
Timeline:
2022~2023: wanted to learn driving, went to Ubi Driving Centre, passed BTT test, however did not follow up for lessons due to personal reasons.
Mar 2024: Decided to continue learning. Searched around and went for private instructor under PassFast. Due to my previous account expiring, I decided to purchase CDC account under them as well, in order to facilitate a quicker booking slot for learning.
7 Apr 2024: First lesson conducted, by private driving instructor. For subsequent lessons, instructor mentioned to make payment for the lesson in advance. (my friend mentioned that i should find a instructor that allows me to only pay when lesson is conducted, not sure if that's the norm?)
21 Apr 2024: Went for second lesson. Tried to learn as much as possible, sometimes instructor was watching Tiktok or texting but tried to close one eye.
8 May 2024: 3rd lesson supposed to be conducted, however I had literally forgot about it (yes it's on me, no excuses I know.) When i remembered, I immediately texted him, however was met with a blue tick. Tried to give the benefit of the doubt and waited until the weekend, no response.
Over the weekend, discussed with my friend and he mentioned to find a different driving instructor.
13 May 2024: texted the Passfast Person in charge, he mentioned: "You will be getting a fixed instructor throughout. This is to ensure a consistent learning experience", and also mentioned that this instructor is the only one who is available to teach on peak period.
After that message, I decided to bite the bullet, and texted the instructor again, may I know when the next available lesson will be. Again, met with a blue tick.
​
I understand that it was 100% my fault for missing out on the lesson on 8 May, however he did not return any message or so much as a simple call to check if I was coming on the day itself. Am I allowed to find a different PDI under a different company? What are the next steps for me here? I am only two lessons in thus far. TIA
​
​

⚠️ WARNING: Maasverse Spoilers—Proceed with Caution ⚠️

-----------------
Part 1: Characters and Courts - YOU ARE HERE
Part 2: World Map, Items, Terms & Other
-----------------

Well, here we go. A master list of all things ACOTAR + the "real" world.

Now, do I believe every single name and location on this list was chosen by SJM with a specific real-world allusion in mind? Of course not. But when you look at the similarities, you'd be hard pressed to deny some of their very probable relations.
As far as this list goes, I've provided what was within my ability to find—coupling each with that which made the most sense relationally—though several definitions would appear to have zero connection to the story at large.
I can't promise perfection. Heck, I can't even promise 100% accuracy (though I did cross-reference the more obscure sources). And I will gladly welcome any missing pieces and/or additional insight you may have.
\Note: If a character or place/item is minor enough, I've included a reminder of their book roles.*

So come on, friends. Let's dive on in.

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https://preview.redd.it/6wts6t7iwd0d1.png?width=832&format=png&auto=webp&s=9f0abc281511431ad28cd76819c77b1907b49432

UK + IRELAND

PRYTHIAN

A combination of Prydain, the old Welsh name for Britain, and Brython, which translates to “Ancient Britons” from Welsh.

HYBERN

A riff of Hibernia, the Classical Latin name for Ireland.

​
Artist of Prythian map: P-dulcis on redbubble

*A continuing list of world map related locations is provided in Part 2 of this post (see link above)

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https://preview.redd.it/0r8gk0ptwd0d1.png?width=840&format=png&auto=webp&s=f82b8e420140957e0aa7c13ee334d4f9b8cdd032

MAIN CHARACTERS

RHYSAND

Rhys (also Rhŷs) is Welsh in origin and means "ardent, enthusiasm." It has deep roots in Welsh culture and is the name of several famous Welsh kings and noblemen, including Rhys ap Thomas, a solider who rose to prominence during the Wars of the Roses.

FEYRE ARCHERON

Feyre is a variant of Feyre and is Old English in origin. It means "fair, beautiful." A similar name in Old Norse is Freyja (also spelled Freya), meaning "Lady," denotes a woman of nobility. In Norse mythology, Freyja is a goddess associated with love, beauty, fertility, sex, and war.
In Greek mythology, the Archeron is one of the five rivers of the Underworld and is often the principal river through which the ferryman Charon transports the dead. It said to be the River of Woe or the River of Misery.

CASSIAN

Cassian is Latin in origin, means "son of Cassius," and denotes one of the oldest families in Rome. Arguably the most well known Cassius was one of the leading instigators of Julius Caesar's assassination plot.

AZRIEL

Azriel is Hebrew in origin meaning "God is my help." In some religions, Azrael is the benevolent angel of death who carries souls of the deceased to the afterlife.

MORRIGAN

The Morrígan is a Celtic goddess associated with war and fate and is seen as a guardian of the earth and its people. Her name means "great queen" or "phantom queen."

AMREN

Amram is of Hebrew origin and means "exalted people." It is the Biblical name of Moses' father.
Note: This tracks with Amren being able to interpret The Book of Breathings which is a play on the very real The Books of Breathing, a collection of ancient Egyptian funerary texts.

NESTA

Nesta is the Welsh version of Agnes meaning "pure, holy." May also have potential connections to Nestor, a legendary Greek king who was known as a great warrior and for the sage advice he offered younger soldiers.

ELAIN

Elain is Welsh in origin and means "fawn." Elaine is associated with the Greek name Helen meaning "light, bright one."
Fun fact: Elain is an anagram of Aelin.

NYX

Nyx is the Greek mythological goddess and personification of the Night. She is the mother of Day (Hemera) and Darkness (Erebus). She often appears alongside other celestial deities such as Selene, Helios, and Eos.

ILLYRIANS

EMERIE

Emerie has Old German origins and means "home strength, brave, powerful."

ENALIUS

In Greek mythology Enyalius is a son of Ares but is also a byname for the god of war. He is often seen as the god of soldiers and warriors from the Ares cult.

DEVLON

Devlon is Gaelic in origin and related to the name Devlin meaning "fierce courage."

BALTHAZAR

Balthazar is Akkadian in origin meaning "God protects the King." It is a name commonly attributed to the wise man who gifted myrrh to the Christ child (the myrrh symbolizing the future death of a king). It is an alternate form of King Belshazzar who played a pivotal role in a coup d'état that overthrew a Neo-Babylonian king.
ACOTAR role: Balthazar helped Nesta during the Blood Rite.

PROTEUS

Proteus is a prophetic sea god in Greek mythology and means "versatile, mutable, capable of assuming many forms."
ACOTAR role: Proteus is Emerie's father and was killed in the war with Hybern.

BELLIUS

May refer to Belus, the Babylonian god of war.
ACOTAR role: Bellius is Emerie's cousin and was slain by Cassian during the Blood Rite.

KALLON

No clear references found, but kalon in Ancient Greek translates to "ideal perfect beauty."
ACOTAR role: Kallon incited the Illyrians against the Night Court leaders and was ultimately slain during the Blood Rite.

HEWN CITY

KEIR

Keir is Gaelic, meaning "dark," and is related to the Irish name Ciarán. In Greek mythology, the Keres (singular being Ker) were female death spirits who personified violent death. There is a suggested connection between the Keres and the Valkyries of Norse mythology, each representing opposite ideals; the Valkyries being benevolent deities in death, versus the Keres representing feasting destruction.

THANATOS

In Greek mythology, Thanatos is the personification of death. He is a minor figure, often referred to but rarely appearing in person (I see what you did there, SJM).
ACOTAR role: Thanatos is mentioned briefly by Keir during the alliance meeting with Eris.

THE LIBRARY

CLOTHO

In ancient Greek mythology, Clotho is the youngest goddess of the Three Fates and spins the thread of human life. Her name means "spinner."

MERRILL

Merrill is of British origin meaning "sparkling sea, sea-bright."

GWYNETH BERDARA

Gwyneth is Welsh in origin and means "blessed, happiness." In Irish mythology, the Lady Gwyn is a headless woman (cough, Catrin, cough) who chases wanderers at night. In Arthurian mythology, Guinevere has an evil half-sister—"False" Guinevere—who bewitches Arthur.

ANANKE

Ananke means "necessity, fate personified." In Greek mythology she is one of the primordial deities and is the personification of necessity and inevitability.
ACOTAR role: A Priestess who joins in the training to become a Valkyrie.

DEIRDRE

Deirdre is Gaelic in origin and means "broken-hearted, wanderer." The name is associated with a tragic heroine in Irish mythology.
ACOTAR role: A Priestess who joins in the training to become a Valkyrie.

ILANA

Illana is Hebrew in origin nd means "tree, bright light." It stems from the name Elena and is potentially related to the name Ileana, a beautiful young female fairy in various myths.
ACOTAR role: A Priestess who joins in the training to become a Valkyrie.

LORELEI

Lorelei in German in origin and means "alluring, temptress." In German folklore, she is a siren-like seductress.
ACOTAR role: A Priestess who joins in the training to become a Valkyrie.

ROSLIN

Roslin is Scottish in origin and means "rose, red-haired."
ACOTAR role: A Priestess who joins in the training to become a Valkyrie.

RIVEN

Riven derives from Old Norse meaning "to split, tear asunder."
ACOTAR role: A Priestess who avoids contact with strangers and whose background is unknown.

SIDE CHARACTERS

MADJA

Madja is Slavic in origin and may mean "splendid, noble one." In Arabic it means "the women with glory." It is related to the name Madeleine meaning "from Magdala."

NUALA

Nuala is Irish in origin and means "fair shouldered one." In modern Irish storytelling it means "born of the sea." It is considered a diminutive form of the name Fionnuala, a mythological figure who was the daughter of a sea god.

CERRIDWEN

Cerridwen is an enchantress in Welsh mythology. She is said to possess the cauldron of poetic inspiration and is regarded by many as the Celtic goddess of rebirth, transformation, and inspiration.

RITA

Rita stems from the name Margarita and comes from the Greek word meaning "pearl." The Greeks promoted pearls as a symbol of honesty and integrity.
ACOTAR role: Rita owns the "how does the IC not know the clientele is gay" bar.

SEVENDA

No clear connection found, though venda in Latin means "sell" while sev means "strew, spread" and enda means "end." Could also potentially be related to the number seven.
ACOTAR role: Owns a restaurant the IC frequents.

NEVE

Neve is of Latin origin and means "snow."
ACOTAR role: The jeweler from whom Rhys buys jewelry for Amren in ACOFAS.

POLINA

Polina has Latin origins and derives from Apollo, though it could also be seen as a variant of Paulina/Paul meaning "little, the younger."
ACOTAR role: The faerie who owned Feyre's art studio before her untimely death.

RESSINA

Resina means "resin of the pine." Plants secret resin as a protective response, guarding them from insects and pathogens.
ACOTAR role: Ressina opens the art studio with Feyre. She has green skin and stood outside her shop in response to Hybern's attack on Velaris, protecting the terrified faeries inside.

ARANEA

Aranea is Greek in origin and denotes a genus of orb-weaving spiders.
ACOTAR role: Aranea is the weaver who created the Void cloth.

​
https://preview.redd.it/9hs15ll5xd0d1.png?width=838&format=png&auto=webp&s=ddc4210db47367b3ef75b06909decc6f3f5c1e70

MAIN CHARACTERS

TAMLIN

From the "Ballad of Tam Lin," a legendary ballad from the borderlands of Scotland. Reminiscent of the fairytale Beauty & the Beast where a mortal woman plucks a rose and encounters a man in the forest, later learning he is captive to faeries. She must hold onto him as he is transformed into various beasts and upon his rescue, the faerie Queen muses that she should have taken out his eyes (Lucien, anyone?) or capture his heart (Tamlin's stone heart) to prevent his escape.

LUCIEN

Lucien is French in origin and means "light." Lucian was also the name of a Hellenized Syrian satirist who was known for his tongue-in-cheek style is said to be the inventor of comic dialogue.

ALIS

Alis is a variant of Alice and translates to "noble, exalted."

SIDE CHARACTERS

IANTHE

Ianthe is Greek in origin and means "she who delights." In Greek mythology she is a water-nymph daughter of Oceanus and a companion to Persephone when she was abducted by Hades.

ANDRAS

Andras has Welsh origins and means "manly, brave."

BRON

Bron is Old English and means "brown."

HART

Hart has Irish origins and means "hero, brave, firm." A hart is also the term for a male deer and in Celtic mythology, the white hart is said to appear when one is transgressing a taboo (Tamlin's whipping of his other sentry comes to mind).

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https://preview.redd.it/peja6s1pfe0d1.png?width=922&format=png&auto=webp&s=aa094c879ffc1ebabdc76045d8f316a3ea14f6c4

MAIN CHARACTERS

BERON VANSERRA

Beron is French in origin and is a pet form of the name Bero meaning "bear."
Vanserra is a combination of the prefix van meaning "from, of" and serra meaning "saw, view from a high place" or "mountain range." Vanserra can be said to mean "of the mountains."

ERIS

In ancient Greek mythology, Eris is the Greek goddess of strife and discord. Her Roman equivalent, Discord, is the goddess of chaos. She is associated with the war goddess Enyo who is frequently associated with the war god Ares.

SIDE CHARACTERS

JESMINDA

Jesminder is Indian in origin meaning "flower queen."

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https://preview.redd.it/aa0ryh03he0d1.png?width=834&format=png&auto=webp&s=2c979ef80546b8a636c7bd4533511d919697c82a

MAIN CHARACTERS

TARQUIN

Tarquin is of Latin origin and means "ruler, strong soldier." Two of the seven kings of Rome bore the name.

VARIAN

Varian is of Latin origin and means "variable."

CRESSEIDA

Cressida derives from Chryseis and means "golden." She is a character associated with the Trojan War and is the archetype of a faithless lover.

SIDE CHARACTERS

NOSTRUS

Nostrum comes from the Latin noster meaning "our, ours." Nostos is an Ancient Greek literary theme concerning an epic hero returning home, often by sea. It is deemed a high level of heroism or greatness and focuses on the hero retaining or elevating their identity while often resisting temptation.
ACOTAR role: The High Lord prior to Tarquin who was slain by Amarantha after participating in a rebellion Under the Mountain.

BRUTIUS

May refer to the Latin name Brutus meaning "heavy, dull."
ACOTAR role: Mercifully slain by Rhys Under the Mountain after his attempted escape.

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https://preview.redd.it/aft8e9y1ie0d1.png?width=838&format=png&auto=webp&s=460ecde2541a23a25848a7daea628a85fca79a98

MAIN CHARACTERS

HELION

Helios is the Ancient Greek god personifying the sun. He is often depicted with a solar crown and drives a horse-drawn chariot through the sky. He played a significant role in ancient magic and spells and is the son of the Titan Theia and brother to Selene.

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https://preview.redd.it/ywtvubx9ie0d1.png?width=840&format=png&auto=webp&s=45553035c0facda120488d250e45bb39cd662397

MAIN CHARACTERS

KALLIAS

Callias is Greek in origin and means "beauty, beautiful voice." He is a diplomatic and wealthy figure in Ancient Greece.

VIVIANNE

From the Latin word vivianus meaning "alive." Commonly associated with the Irish name Bébinn meaning "beautiful, fair one" and is the name of an underworld goddess in both Irish and Welsh mythology.

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https://preview.redd.it/9f3di0y1je0d1.png?width=842&format=png&auto=webp&s=22f9e85462f5c78cc2a864fcc6274bfbcafb1cbd
THESAN

Thesan is the Etruscan goddess of the dawn. Greeks identified her with Eos, the goddess and personification of the dawn. She is sometimes depicted with wings.

NUAN

Nuan is Mandarin and means "warm, genial."

THE PEREGRYN

The peregrine is a falcon renowned for its speed.
Fun fact: The peregrine is the fastest member of the animal kingdom and can reach speeds of over 200mph.

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https://preview.redd.it/c1oiwenije0d1.png?width=828&format=png&auto=webp&s=064884b4749d4179ef4eb2d3f1605f8cf0d77d83
AMARANTHA

Amaranths is Greek in origin and means "unfading." The amaranthus flower, often deep red in color, is said to symbolize immortality as it blooms for so long.

BRANNAGH

Brannagh is of Irish origin and denotes a "beautiful female with hair dark as a raven."

DAGDAN

In Irish mythology, the Dagda is considered the chief god of the Tuatha Dé Danaan. His name means "the good god, the great god."

CLYTHIA

In Greek mythology, Clytia is a water nymph who loved the sun god Helios. Helios left her for another woman after coming under the influence of Aphrodite. Clytia exposed the affair to the other woman's father, but eventually lost herself in mourning for Helios's love. Her name means "glorious, renowned."
ACOTAR role: Amarantha's sister.

​
https://preview.redd.it/u7ro7e96me0d1.png?width=834&format=png&auto=webp&s=9b1aef74acd4c09a8026c10fbbab0ed4804ebb4f

HISTORICAL FIGURES

THEIA

Theia is a Titan and is the Ancient Greek goddess of sight and vision. She is the parent of Helios, Selene, and Eos. She is most known not for her own role, but for that of her childrens'. Her name means "goddess, godly."

SILENE

Selene is the Ancient Greek goddess and personification of the moon. She is the daughter of Hyperion and Theia and sister to Helios and Eos.

HELENA

Comes from the Green name Helen meaning "shining light." There are various Helens in Greek mythology: Helen of Troy, Helen a friend to Aphrodite, and Helene the Amazonian who fought Achilles.

FIONN

Fionn is of Irish origin and means "fair-haired." In Irish folklore, Fionn Mac Cumhaill was a leader of a band of young hunter-warriors.

PELIAS

Pelias is Greek in origin and means "rock pigeon." Pelias was the king of Ioclus while Peleus was the king of Phthia. Peleus was husband to Thetis, father to Achilles, and left several (men and women) dead in his wake, both through means of accident and betrayal, fleeing more than once to escape punishment.

OLEANNA

Oleanna derives from the Greek name Helene meaning "sun ray, shining light."
ACOTAR role: The High Priestess who dipped Gwydion in the Cauldron.

REPORTED DECEASED

CATRIN BERDARA

Catrin is Greek in origin and means "clear, pure." It's commonly used in Wales and is connected with the ancient goddess Hecate, who is the goddess of witchcraft, sorcery, and necromancy.

MINOR CHARACTERS

TANWYN

Tanwan is of Welsh origin and means "white fire."
ACOTAR role: Tanwyn was a Valkyrie and Cassian's former lover.

OSIAN

Osian is Welsh meaning "young deer" and derives from the Irish legendary poet and warrior Oisín, who was regarded as the greatest poet of Ireland and a warrior of the Fianna (small warrior-hunter bands). He was a demigod son of Fionn Mac Cumhaill and Sadhbh.
ACOTAR role: The author of A Brief History of the Great Sieges

RABATH

Rabath is an anagram of Bharat, one of the names of India. Derived from the Sanskrit word bharata, meaning "to bear, be maintained" it can also mean "one who is engaged in search of knowledge."
ACOTAR role: Lord of the Western Wind and ancestor to Merrill.

​
https://preview.redd.it/7um6ifo4me0d1.png?width=848&format=png&auto=webp&s=c4d3829695878258de311ec34d4043500d3bbd1a
JURIAN

Jurian is Greek in origin and means "farmer, earthworker."

GRAYSEN

Graysen is of English origin and translates to "son of the steward/gray-haired man."

NOLAN

Nolan is Irish in origin and denotes a "child of nobility, champion."
ACOTAR role: Nolan is Graysen's father.

ISAAC HALE

Isaac is Hebrew in origin and means "one who laughs or rejoices." Hale is Old English in origin and means "nook, recess" and denoted someone who lived in a nook or hollow.

TOMAS MANDRAY

Thomas is Hebrew in origin and means "twin." No clear reference to Mandray, though Mandrew is Greek and means "man, warrior."
ACOTAR role: Tomas was Nesta's former betrothed.

CLARE BEDDOR

Clare is French in origin and means "bright, clear." No reference found for Beddor.

AUNT RIPLEIGH

Ripleigh is Old English and means "shouting man's meadow." It is connected to the name Ripley meaning "strip of clearing in the woods."
ACOTAR role: Aunt Ripleigh is the feigned aunt Feyre takes care of.

Ms. Laurent

Laurent is French in origin and means "from Laurentum" and "bay laurel."
ACOTAR role: Ms. Laurent is the mortal caretaker of the Archeron estate.

BRIAR

Briar is of British origin and means "thorny bush of wild roses, brambles."
ACOTAR role: Briar is the mortal woman rescued by Feyre and Azriel.

​
https://preview.redd.it/h47d07ssne0d1.png?width=832&format=png&auto=webp&s=3b686d7736a763fed07d5ce248f0603a46081e0e

HUMAN QUEENS

VASSA

Vasilissa is Greek in origin and means "queen, empress." It is also the name of a Christian child martyr who was left unharmed during her capture, but after her release was slain in a field as she prayed.

BRIALLYN

Briallen is a Welsh name meaning "primrose." Primrose comes from the Latin word meaning "first" and the primrose flower often represents youth and renewal (SJM, you dog—this may be my favorite tongue-in-cheek naming thing you did).
ACOTAR role: Briallyn is the first queen who enters the Cauldron and is rewarded with immortality as a withered old hag.

DEMETRA

Demeter was the mother of Persephone, an Ancient Greek goddess of the harvest and an emblem of growth.
ACOTAR role: Demetra was the golden queen who provided the mortal half of The Book of Breathings to the Night Court and was subsequently slain by the Attor.

ANDROMACHE

Andromache means "fighter of men." In Greek mythology, she was representative of the suffering of Trojan women during the war and was famous for her virtue and fidelity. Andromache was also the name of a famous Greek Amazonian who fell at Troy.
ACOTAR role: Andromache was the former mortal lover of Mor.

FAE CHARACTERS

DRAKON

Drakon is of Greek origin and means "dragon."

NEPHELLE

In Greek mythology Nephele, meaning "cloud," is a cloud nymph who is considered the goddess of loyalty, generosity, peace, and shyness.

THE SERAPHIM

A seraph is a celestial being regarded as belonging to the highest order of angels in Christian angelology.

HUMAN CHARACTERS

MIRYAM

Miriam of of Hebrew origin and means "sea of sorrow." She is the Biblical daughter of Amram and Jochebed and sister to Aaron and Moses.

URSTIN

No plausible connections found. Potentially an anagram for Rustin, an English name meaning "Rust's estate" or Surtin, a Middle English name meaning "reliable, trustworthy."
ACOTAR role: Urstin is a cousin of the Archerons via their mother.

​
https://preview.redd.it/7d6podf5pe0d1.png?width=836&format=png&auto=webp&s=8e99a04d45c3b0f1f46232c7ebef16aeef659c8e

MAIN CHARACTERS

THE SURIEL

Suriel is a Hebrew name meaning "God's prince, divine authority." May also reference Sariel, an angel from Judais tradition, one of the seven holy angels. He is considered to be a primordial power invoked for his protective powers.

ATTOR

Possibly an altered form of the German tatter meaning "goblin, puppet." Likely inspired by the Ahool, a bat or primate-like winged cryptid said to live in the jungles of Indonesia.

DEATH GODS

THE BONE CARVER

Self-explanatory.

STRYGA AKA THE WEAVER

Stryzga is a female demon in Slavic mythology similar to a vampire. Stryzga stems from the mythological Strix of Ancient Greece, referring to birds of ill omen (and also witches) who fed on human flesh and blood.

KOSCHEI

Koschei is a common villain in East Slavic tales. He is often given the epithet of "the Immortal, the Deathless" and is said to hide his death inside nested objects for protection. He often takes the role of a malevolent rival figure who competes or entraps a male hero's love interest.
Fun note: The love interest trapping tidbit has interesting connotations for both Lucien (regarding Vassa) and Azriel (regarding Eris). For a breakdown of the Azriel x Koschei scene in ACOSF, see HERE.

PRISON INMATES

BRYAXIS

Bryaxis was a famous Ancient Greek sculptor. His name may mean "delight, lust."

LANTHYS

No information or connections found (and it is KILLING me).

LUBIA

In Albanian mythology, the lubia is a multi-headed, serpentine-like, female watestorm demon-dragon. Her irresistible taste of flesh leans toward that of young girls.
ACOTAR role: Also called Seven-Headed Lubia, imprisoned for preying on girls on the western coast of Prythian.

ANNIS

The Black Annis is a bogeyman in English folklore, depicted as a blue-faced witch with iron claws who has a taste for human flesh, especially that of children.
ACOTAR role: Also called Blue Annis, imprisoned for her craving of female flesh.

VESPERUS

In Greek mythology, Hesperus is the Evening Star. Her Roman equivalent is named Vesper.
ACOTAR role: Vesperus is the Asteri found beneath the Prison.

MINOR CHARACTERS

MIDDENGARD WYRM

Midgard is the realm of human beings in Norse mythology, ie Earth. Wrym is an Old Norse word and refers to a wingless and limbless dragon.

THE BOGGE

Bogge is a Middle English word meaning "frightening specter" from which the term bogeyman originated. Bogeyman have no specific appearance and conceptions vary drastically by culture.
Fun fact: A boggart is a supernatural being from English folklore and also derives from the term bogge (Harry Potter facts, yo).

NAGA

Throughout various Asian religious traditions, Angus are a divine or semi-divine race of half-human, half-serpent beings residing in the netherworld.
Fun fact: A female naga is called a Nagi or a Nagini (more HP facts, yo).

MARTAX

A manticore is a Persian mythological creature similar to the Egyptian sphinx. The martax describe in ACOTAR has a head like a lion's and three rows of teeth. A manticore has the body of a lion and eats its victims whole with its three rows of teeth. The term manticore stems from Latin and Ancient Greek.

PUCA

Púca is Irish for "spirit, ghost" while puca is Old English for "goblin." They were said to be shape-changers.

​
https://preview.redd.it/kjbnychpse0d1.png?width=840&format=png&auto=webp&s=0cbc744820cea4c2fa5e16ec64c127001ba0de10
MEALLAN

Meallán is Irish in origin meaning "small pleasant one."
ACOTAR role: Helion's pegasus.

ELLIA

Ellia is of various origins and can translate to "beautiful fairy maiden" with hints to the "Otherworld."
ACOTAR role: Mor's horse.

-----------------
For Part 2: World Map, Items, Terms & Other, click HERE

Introduction

ASIAN KUNG-FU GENERATION, Zepp Tokyo for \"Quarter-Century Tour\"

^(\This article is an updated version of my "Sound Like" article from 2021. I have reposted this article due to difficulties editing the original version*, and have included additional information and recommendations based on the increased popularity of amp simulator pedals*)*

Hello fellow musicians and Ajikan fans!
I have been a fan of ASIAN KUNG-FU GENERATION for roughly 16 years and as a guitarist was greatly inspired by the band's alt rock sound.
After a few years of research I have written a series of "sound like" articles for ASIAN KUNG-FU GENERATION. The purpose of these articles is to provide context on how the band create their signature sound, and to support beginning musicians or tribute acts who may wish to replicate it.
At the end of each article I have drafted a Budget Rig, which you could use for both at home and in a live environment. I have also provided some general amp settings to tweak and try, which are based on the band's live sound and be can used to help replicate their tones.
This is a 3-part series and if you enjoy this article I would recommend checking out the other articles:
ASIAN KUNG-FU GENERATION Sound Like Part 2: Kita : AsianKungFuGeneration (reddit.com)
ASIAN KUNG-FU GENERATION Sound Like Part 3: Yamada : AsianKungFuGeneration (reddit.com)

^{Please note that the article focuses on the band's live sound, which will be different to the albums and can vary depending on the venue. Also (and is a cliché} every musician and instrument will vary slightly due to small differences in play style and build, so also be mindful of that.)

To help you recognise the individual guitar tones, Gotch's guitar parts are normally panned to the left earphone and Kita's are panned to the right earphone on the band's albums. (On 2016's Sol-Fa, Hometown and some of the Planet Folks singles the panning was swapped, with Gotch instead in the right ear and Kita on the left)

Masafumi Gotoh

Gotch live at the 02 Islington, London, 2013
Let's start off with lead singer and rhythm guitarist Masafumi Gotoh, or "Gotch" for short. Gotch's was massively influenced by the 90's alternative rock, Power Pop and the Britpop scene, and has previously highlighted Oasis, Weezer and Number Girl as key inspirations.
As Ajikan's main songwriter, Gotch follows the principle of "less is more" - keeping the arrangements simple for listeners, but combining pop hooks & traditional Asian melodies with the band's punk rock and indie influences.
Gotch's playing style follows this principle, as he primarily uses chord shapes, bar chords or repeated phrases to anchor the band. (The simple approach also makes it easier for Gotch to sing while performing)
Occasionally, Gotch will use "octave chords" (more on octave chords below) or play riffs with open strings notes, to add further depth. A good example of this is the opening riffs to Easter, where he plays an open D string while also playing the 3rd and 5th fret of the A string.

^{Octave Chords: Octave chords is famously used in punk rock and alt rock riffs, and is when you play the same note in two different octaves. Try play a bar chord on the 4th fret of the A string, and lifting your ring finger off the D string. You should get a "C# octave chord" and will recognise it from the intro of Haruka Kanata. Octave chords are used in many Ajikan songs and by many bands, so they are good to practice!}

In more recent albums, Gotch has also experimented with moving chord shapes across the fretboard. For good examples, check out the opening of Caterpillar or the bridge section of Kouya Wo Aruke.
Gotch's guitar tends to be lower in the overall mix, with Kita acting as the band's lead guitarist and Gotch as the anchor for each song. However, Gotch tends to improvise with ambient sounds during live performances and occasionally will take on the lead role in songs like Hold Me Tight.

GUITARS:

When it comes to guitars Gotch almost exclusively plays Gibson Les Paul Jr's with P-90 pickups, and has been his preferred guitar since 2004. The P-90 pickups have a bright midrange sound in comparison to the muddier humbucker sound, which makes them better suited for Gotch's focus on chords.
Gotch main guitar is the 1959 Gibson Les Paul Special
The Les Paul Jr is also lighter and have less sustain and power compared to a normal Les Paul, which leaves space for the other instruments to stand out in the mix.
Gotch's main guitar is a 1959 Gibson Les Paul Special, which he plays in E Standard tuning and uses for both recording and live performances. Gotch also uses a 1961 Gibson Les Paul Jr (with the pickguard missing) or a 2000 Gibson Les Paul DC (with a gloss yellow finish) for songs in Eb/D# tuning, such as After Dark or Soredewa, Mata Ashita.
Gotch's is also famous for using a 1975 Gibson Marauder during the band's early years. Gotch has mostly retired the guitar (due to the "lack of volume" for larger venues), but it regularly appears in MV's, band merchandise and occasionally during special events, such as the 10th anniversary shows in Yokohama.
Gotch's Gibson Marauder
Gotch occasionally uses a few rarer guitars live, such as the Gibson Custom Les Paul Junior John Lennon model (Gotch has number 54 of 300 such guitars made), and is normally played with a capo for songs such as Maigo Inu To Ame No Beat.
Gotch has also used a Gibson Hummingbird for acoustic numbers, and can be seen used in Eizo Sakushin Shu Vol.6 for the band's performance of Kaigan Doori. Gotch likes to use Tortex Flex .88mm & Tortex Flex Triangle .88mm guitar picks, which he swaps between depending on the song.
If you are looking to sound like Gotch, the best place to start would be a Les Paul Jr guitar with P-90 pickups.

AMPLIFIERS:

After originally touring with a Roland JC-22, Gotch has almost exclusively played Fender amplifiers since 2004. Gotch uses two amps when playing live, one for his "clean" sound and the other for his "heavy" sound.
The band's often implement a "quiet/loud" dynamic into their song writing, so Gotch will often switch between his amps during live performances, using a custom made footswitch on his pedalboard. (A good example of this is Mustang or Solanin)
For his clean tone, Gotch uses a Fender 65' Twin Custom Twin 15. It can be heard on Korogaru Iwa, Kimi ni Asa Ga Furu, Solanin and Wonder Future. Occasionally, Gotch will combine the Twin Reverb with a boost pedal or overdrive pedal for more clarity, with Wonder Future a good examples of this.
(1) Fender '65 Twin Custom 15 (clean tone), (2) Fender Vibro-King Custom, (3) Fender Super-Sonic 60 Head (which uses the Vibro-King as a speaker), (4) Fender '63 Spring Reverb (which runs in between the pedal board and the Super-Sonic 60, and is toggled on or off by a switch)
For his heavier tone, Gotch primarily uses a Fender Vibro-King Custom for recording and appears in most of the band's MV's. The Vibro-King/Twin Reverb was Gotch's main setup during the 2000's and can be seen together on Eizo Sakushin Shu Vol. 6.
In 2009 Gotch started to use a Fender Super-Sonic 60 Amp Head and still uses it now. Until 2022, Gotch would use Vibro-King as a "cabinet", acting as the speaker unit for the Super-Sonic. Gotch now uses a Shinos & L Rocket Head for live shows, but has kept the Vibro-king for recording sessions and MVs.
Since 2022 Gotch has used Shinos & L Rocket amp & cabinet instead of the Fender Vibro-King
Gotch "heavy" amps for songs such as Re:Re:, Haruka Kanata and Rewrite. It is important to note that Gotch prefers to use his amps to create his distorted tone, but will occasionally add an overdrive pedal for heavier tracks such as Blood Circulator & Easter.
Alongside the Twin Reverb and Super-Sonic, Gotch is known to use a Fender 63' Spring Reverb Unit. This unit only runs into the Super-Sonic and is used for additional reverb to "thicken the sound". Gotch can control the 63' Reverb with a on/off switch on his pedal board.
Other notable amps that Gotch has used are the Matchless C30 & Bad Cat 30R Head. Both have been used exclusively for recording, most notably on Wonder Future. Gotch is also known to use VOX AC15 amps for recording.
Gotch's '63 Spring Reverb Unit, along with a selection of Vortex Flex .88m picks

In terms of mics, Gotch seems to use a Shure SM57 for his Fender Twin Reverb and a Shure SM58 on his Vibro-King or Shinos Rocket. When you are trying to emulate his sound with modelling or profiling amps, it is worth experimenting with mic positioning and different mics.

If you want to replicate Gotch's amp sound then you should look to replicate his Fender amps. However the Vibro-King is a key component and are unfortunately rare, notoriously loud and expensive. For that reason, I have put together some alternatives that should get you close.

PEDALS & EFFECTS:

During Ajikan's early years, Gotch combined a Roland JC-22 with a ProCo RAT to create the "quiet/loud" dynamic of the band's early records. After buying the Fender Vibro-King in 2004, Gotch no longer required the RAT, but kept a simplified pedalboard to achieve certain tones for live performances.
Gotch's 2004 pedalboard, which includes the ProCo RAT and Ibanez TS9 Tube Screamer
We will cover two different pedalboards that Gotch has used during the band's career. Regardless of which pedal board you look at, Gotch's has always included an overdrive or boost pedal, a phase pedal and a delay pedal.
The boost/overdrive is used to "lift" his clean sound during ballads (Solanin, Wonder Future) or to thicken his sound for heavier tracks. (Senseless, Dororo) Gotch will normally set the drive or gain low and the volume high.
The phaser is a more sparingly used pedal to add texture and colour, but can be heard on Shinkokyū, Blue Train and Rewrite. I will include more detail on Gotch's use of delay in the sections below.
Gotch's "Classic" Pedalboard
Gotch \"classic\" pedalboard, used between 2006-2013, with Gotch's custom made footswitch on the bottom left to control the amps
Gotch started to use this "classic" board during the Fanclub tour and continued to do so until the 10th Anniversary shows in 2013. This would be the easier and more affordable board to replicate for newcomers.
Gotch's setup started with a BOSS TU-3 tuner, which he also used as a "mute" pedal in between songs. From there, his chain would run into the Ibanez TS808 Tube Screamer, the BOSS PH-2 Super Phaser and the BOSS DD-20 Giga Delay. During the Magic Disk tour, Gotch also added a Custom Audio Tremolo.

^{The BOSS DD-20 has been Gotch's main delay pedal for twenty years and is set to "warp". On the warp setting, Gotch can keep his foot on the pedal to create swells of delays. Gotch's standard setting is 173-179bpm (beats per minute} on 1/4 (quarter) notes and then he has four presets. These are 137bpm on 1/4 (for the intro of Blackout), 154bpm on 1/4 (for Kakato de Ai o Uchinarase), 177bpm on 1/2 (for Solanin and the intro of Siren) and finally 177 on 1/4. (For the second half of Siren))

Gotch also included two footswitches for his board; The first one was a handmade footswitch, which he used to swap between the Twin Reverb and the Vibro-King/Super-Sonic. The other footswitch was a BOSS FS-5L, which he used to control the '63 Spring Reverb Unit.
Gotch's "Modern" Pedalboard
Gotch's \"modern\" pedal board.【Pedal List】(1) api/TranZformer GT (compressoequalizer) (2) BOSS/TU-3 (tuner) (3) Spaceman Effects/Atlas III (preamp) (4) BOSS/DD-6 (delay) (5) Spaceman Effects/Voyager I (tremolo) (6) EarthQuaker Devices/Avalanche Run (delay/reverb) (7) Mu-Tron/Mu-FX Phasor 2X (phaser) (8) Caroline Guitar Company/KILOBYTE (9) BOSS/DD-20 (delay) (10) Handmade/Line Selector (11) FAT/514.D (booster)(12) strymon/Zuma R300 (power supply) (13)BOSS/EV-30 (Expression Pedal) (14) BOSS/FS-5L (foot switch)
During the recording of Wonder Future and his first solo album (Can't Be Forever Young), Gotch began to experiment more with boutique pedals, and has resulted in a more complex board since 2014, allowing more ambient experiments on the band's records and during live performances.
Gotch has added a API Tranzformer GT to the start of his chain, only using the E.Q. section and tweaking the settings for each venue.
Gotch's "Modern" board now includes a variety of delay and reverb pedals, such as the Earthquaker Device Avalanche Run and the Caroline Kilobyte Lo-Fi Delay. These are combined with his DD-20 to create the ambient sounds heard on Empathy & the outro of Demachiyanagi Parallel Universe.
The BOSS DD-6 Digital Delay is set to the "reverse" mode and is used during the intro of Re:Re: and the bridge of Rewrite. Gotch has removed the Tube-Screamer from his board and has experimented with multiple alternative pedals, which includes the Xotic Effects AC Plus and JHS Superbolt.
He currently uses the Atlas III Preamp Booster and the FAT 514.D for his overdrive sounds. The 514.D only runs to the Super-Sonic to help "thicken" the distorted tone of the Super-Sonic.
Gotch has also replaced the Super Phaser with the MU-FX Phasor 2x and is using a Voyager I Spaceman for his tremolo. (UCLA & No Name are good references for the tremolo) Finally, Gotch has added an BOSS EV-30 expression pedal, which he uses to control the delay of the Avalanche Run.
If you are looking to replicate Gotch's pedalboard, the best place to start would be a phaser, delay and a boost/overdrive pedal, which would cover most of Ajikan's Discography.

Sound Like Gotch...On a Budget

Now that you are up to speed on what Gotch uses for his guitar rig, we can start to look at replicating his sound. The idea of this section is to offer affordable suggestions to replicate Gotch's tone that can be used for home use and for small live venues.
I would like to highlight that I am just writing as a fan and the equipment I recommend are purely my own recommendations. I do not have any sponsors (I wish I did sometimes) and if you find alternatives that work for you, go for it!
Gotch performing in 2022, during the Quarter Century shows in Yokohama
To buy Gotch's current pedal board alone would cost roughly £2,500 and would be unrealistic for most readers to purchase, however there are options that can get us close to Gotch's tone without breaking the bank.
The key elements to this rig are:

• A Gibson style guitar with P-90 pickups
• A Fender amp with decent distortion
• A Tube-Screamer style overdrive
• A flexible Delay pedal

Let's start with the guitar, which is both important for the P-90 tone. You should always feel comfortable when playing the guitar you pick, so I recommend trying out the guitar when possible before buying.
GUITARS
As an affordable guitar, I would suggest looking at the Epiphone Les Paul Jr. It is the entry level price for Gibson guitars (Epiphone would be the equivalent to "Squier" for Fender) and includes P-90 pickups as the standard setup. You can buy one for around £380 and should also be fairly easy to modify & similar to Gotch's sound.
Epiphone Les Paul Junior
If you do have a higher budget to work with, I would recommend the Gibson Les Paul Special Tribute DC. These were released in 2019 and you can normally find a 2nd hand version for roughly £650 - £800. (It is also the guitar I currently use!) Failing that, you can also look at the Gibson Les Paul Special for around £800.
Gibson Les Paul Special Tribute DC
AMPLIFIERS
We are looking to replicate Gotch's Fender amps, so the affordable option to start with would be the Fender Mustang GTX. The newer Mustang amps are an improvement on the original and have simulations of the Twin Reverb, the Vibro-King and the Super-Sonic.
The GTX 50 (which has a smaller speaker) is roughly £390 and the GTX 100 (which includes a footswitch) is about £510, but you should be able to find both versions for a reduced cost second hand.
Fender Mustang GTX 100
If you do have a higher budget or prefer to use a tube amp, I would recommend going for the Fender Super-Sonic Combo or the Fender Hot Rod Deluxe for a solid distorted Fender tone.
Alternatively, you could consider the Fender Blues Junior, Fender Tone Master Twin-Reverb or Roland JC, and combine them with a ProCo RAT to replicate the tones from Houkai Amplifier and Kimi Tsunagi Five M.
PEDALS
To keep the list of suggestions short and simple, we will use Gotch's "classic" board as a reference and will cover most of the band's discography.
For a budget rig, I would recommend the Ibanez Tube-Screamer Mini, which is a miniature version of the standard Ibanez Tube-Screamer and sound great for the price. You could pair this up with a Boss Phase Shifter and a BOSS DD-6 Delay for around £309 brand new to get a very similar Gotch board. (You could buy them for as low as £110 combined on the 2nd hand market)
The Tube Screamer Mini is a cheap, effective overdrive pedal based on the classic TS808
For a more expensive pedalboard, the JHS Superbolt V2 was used by Gotch extensively between 2015-2019 and was once described by Gotch as "the Ajikan sound" on his blog. You could also buy the TS808 Tube Screamer that Gotch actually used for many years or the JHS Bonsai 9 which emulates multiple tube screamers.
For modulation sounds (phase, tremolo) the AmpliTube X-Vibe is one of many great multi-effect pedal on the market. If you have the money for it, you could buy a BOSS DD-20 second hand or the BOSS DD-200 to emulate Gotch's delay sound.
If you decided to go with the Mustang GTX, you would also have a selection of effects built into the amp.
THE TONE MASTER PRO? (and amp simulators)
As a final recommendation, Fender have recently released the Tone Master Pro (TMP), which is a multi effects and amp simulator.
It can be used as a device for home recording, but also as multi effects pedal in front of a standard amp or as your main amplifier when played through a IR cabinet. (I'll go into more detail in a bit!) The TMP are not cheap at £1400, so I would only advise buying one if you plan to use it as your main amp and effects board.
If you have the budget and was starting your rig from scratch I would consider checking it out, as it includes great simulations of the Twin Reverb and Vibro-King. They are also easy to transport & the Fender IR cabinets only weigh 12.5kg. (For comparison, my VOX AC15 weighs 30kg and is a nightmare to transport for shows)
The TMP is Fender's first amp simulator pedal and from what I understand the Quad Cortex DSP, the Line 6 Helix series and the Headrush Pedalboard are more popular choices. However, for the purpose of "sounding like Gotch", I would start with the TMP for its Fender selection and simplicity
The Fender Tone Master Pro can be used to simulate multiple amps & as a pedalboard for live performances

^{If you decide to buy a Amp Simulator Pedal, there are 3 common ways to use it for band practices & live settings. (Outside of just using headphones or running straight to front of house at a venue})
^{Option 1: Only use the effects on the Amp Simulator and run it into a standard amp. (Make sure to not use the cabinets settings within the pedal when doing this} You could still use the amps, however it will not always sound great with a normal amp)
^{Option 2: Use the Amp Simulator as your main amp and combining with a standard guitar cabinet. In order to do this, you will need to buy a separate power amp pedal to run in between the amp simulator and the guitar cabinet. (Otherwise you will not have any volume or oomph when you play through the cabinet})
^{Option 3: Buy a IR Cabinet. The difference between this and Option 2 is that you would not need to buy a separate power amp pedal to run into the speaker. The Fender FR-10/12 & Line 6 Powercab are good examples.}

Recommended Amp Settings

The following amp settings are based on photos gathered from live performances or from photos of Gotch's social media. Every amp will slightly differ based on your guitar or playing style, so you may need to tweak with your settings to find the right blend.
My personal advice is to not put the gain too high and to start with getting the treble and bass settings where you feel comfortable, before tweaking the mids. The P-90s have a strong midrange attack, so bear that in mind as well.
Gotch's Vibro-King and Super-Sonic
Fender '65 Twin Custom 15:
(Plugged into Vibrato 1) Vol: 3, Treble: 3.5-4, Mid: 6.5, Bass: 3.5
Fender Super-Sonic 60 Head:
Channel 1: Vol: 3.5, Treble: 4-4.5, Bass: 5
Channel 2: Vintage setting ON, Gain 1: 4, Gain 2: 0, Treble: 5-5.5, Bass: 4.5-5, Mid: 5.5, Vol: 5.5-6
Fender Vibro-King Custom (as cabinet):
Plug into the speaker input at the back of the amp, with FAT switch on.
Fender Vibro-King Custom (as amplifier):
(FAT ON) Vol: 3, Treble: 4.5, Bass: 4, Mid: 5.5 (Based on Eizo Sakushin Shu Vol.6 settings)
OR
(FAT ON) Vol: 4.5 Treble: 4 Bass: 5 Mid: 4.5
Shinos & L Rocket Head:
Gain: 7, Treble: 8, Bass: 3, Reverb: 0, Master: 7

Conclusion

I hope this has been helpful for you guys, as it has been on my bucket list for some time! Please provide some feedback as it is always appreciated and if you would like more details about the effect settings let me know.
[Update] I have now written a post on Kita's rig and Yamada's rig, which you can read below:
ASIAN KUNG-FU GENERATION Sound Like Part 2: Kita : AsianKungFuGeneration (reddit.com)
ASIAN KUNG-FU GENERATION Sound Like Part 3: Yamada : AsianKungFuGeneration (reddit.com)

Barron, Laird. “Jaws of Saturn.” The Beautiful Thing That Awaits Us All. Night Shade Books, 2013.

Summary

Carol is Franco’s girl, and when he learns a two-bit stage magician is practicing hypnotism on her, Franco goes to pay the old man a visit. But Phil Wary is no mere purveyor of parlor tricks. The line between dreams and waking, between our reality and one of monstrous dimensions, erodes, as Franco and Carol find themselves ground to bits between the “Jaws of Saturn.”

Characters

• Franco - a private security attache and enforcer. Well groomed, well read, well armed.
• Carol - Franco’s lover and resident of The Broadsword Hotel.
• Phil Wary - an elderly resident of The Broadsword and career stage magician; also a powerful practitioner of the Black Arts.

Story

In the lounge of the Broadsword Hotel, Carol tells Franco of a dream she had of her former lover Marvin Cortez. Franco tries to explain it away as mere messages from her subconscious, but he’s also jealous. In her room, they engage in vigorous sex and Franco observes that, for a moment, one of her irises is inhumanly oblong. He doesn’t know what to make of this and presses Carol on her current state of mind, especially her recent weird dreams. She admits she’s been visiting old Phil Wary in his apartment upstairs, paying him for hypnosis sessions to help kick her smoking habit. That’s all Franco needs to know. This old sheister is trying to get into Carol’s pants and he’s screwing with her head. He’ll pay Phil Wary a visit. But first, he falls asleep and dreams of lovely, voluptuous Carol standing frozen in the Broadsword lobby as a shadow of “colossal dimensions” looms over her.
Franco is a bodyguard/enforcer for millionaire Jacob Wilson and is no stranger to intimidation, violence, and murder. He ferrets out Wary’s number and rings him up. Wary dismisses Franco contemptuously over the phone (“You sound like an oaf, a knuckle dragger.”) so Franco breaks into his apartment where he confronts the old man about making moves on Carol under the guise of therapeutic mesmerism. Phil Wary is both sardonically condescending and oddly patient with Franco, giving him more than one opportunity to walk away. But Franco is consumed with (perhaps nurses) his jealousy and strikes Wary across the face with a belt, ordering him to stay away from his girlfriend. Franco’s action does not have the intended effect. Wary shakes off the blows and effortlessly subdues Franco.
Wary stows the bound Franco in a closet, on tiptoes with a belt tightened around his neck, and leaves the door ajar so he can watch as Carol enters for her hypnosis session. Something’s wrong about the closet: he can’t see its ceiling. The dimension of height goes up and up into darkness. Franco struggles to maintain consciousness and can only watch as Wary entrances Carol then guides her to his apartment wall where he pulls back a flap of old wallpaper and has her look through a hole at… Franco doesn’t know what she could possibly be seeing other than the back lot of the Broadsword. Wary releases Carol from the trance and sends her on her way. Now Wary leads Franco to the wall, telling him, “All this flesh is but a projection. We are the dream of something greater and more dreadful than you could imagine. To gaze into the abyss is to recognize the dreamer and in recognition, to wake.” He forces Franco’s eye against the hole in the wall. Franco passes out. When he comes to, he receives a call on Wary’s phone from his boss Jacob Wilson, who fires him on the spot. Wary offers tepid consolation before ejecting Franco into the hall. Franco suddenly wakes in Carol’s bed, screaming.
Franco and Carol’s nightmares intensify as the boundary between dreaming and waking life erodes. Their nightmares increasingly feature familiar locations distended into cyclopean dimensions, and threats from above - at first tendrils descending from the sky, then the hand of a giant. In desperation, Franco returns to the Broadsword, packing his pistol, but the opportunity to kill Phil Wary has passed if it truly ever existed. He has a vision of Carol in the vaulted hotel lobby and, above them, Wary - now a colossus like the titan Saturn in de Goya’s famous painting - towers above them. The giant picks up Franco and raises him to its face - but Franco “had a long, agonizing moment to recognize his own face mirrored by the primordial aspect of the giant.” Franco is devoured.
There’s a brief coda where Franco (?) wakes, a giant in an ancient or future world, and is joined by his titanic lover. Together they loom over “all the tiny houses and all the tiny works of men.”

Analysis

As I write this, I have just woken from a dream. In the dream, I am asleep and dreaming of looking at a reproduction toy catalog and, sure enough, there are three pages of the old Micronauts toy line with which I am still obsessed. I wonder if these toys will ever be reissued. Then I wake up. There’s a book at the far end of the bed. It’s out of reach and I’m still sleepy and don’t want to stretch to grab it. I wonder, as I so often have: if I focus on that book and believe that waking reality is mine to shape as I do in dreams, can I make that book really leap into my hand? I do, and it does! I double-check to be sure I’m really awake. Yes - yes, I’m awake! This is finally, really happening! I try it again, pulling a rock from the ground through telekinesis. It’s easy. I have come into my own, a demigod among men. Then I wake up, for real this time.
My subconsciousness giggles. Pwned again.
All this to say: it’s disconcerting when the line between dreaming and waking consciousness breaks down, which is what’s happening for Franco and Carol, and at a scale that defies Euclidian geometry.
In fact, Franco’s experience is like stumbling onto the Devil’s Narnia. The closet in Phil Wary’s apartment - like C.S. Lewis’ coat-filled wardrobe - opens onto an impossibly large dimension, one lighted not by a snow-strewn lamppost but a hideous red light. For both Franco and Carol, the gulf between dreams and waking reality is melting away. The dreaminess/nightmarishness doesn’t make their experiences of this other (truer?) world any less real. Again, the occultist tells Franco, “We are the dream of something greater and more dreadful than you could imagine. To gaze into the abyss is to recognize the dreamer and in recognition, to wake.”
In The Lion, the Witch, and the Wardrobe, the Pevensie children’s true identity is revealed as the sons of Adam and the daughters of Eve. Franco and Carol’s journey in “Jaws of Saturn” makes them a kind of Adam and Eve, but of a titanic cast. Their early sex scene shows Franco on the verge of an atavistic state, nearly unbridled from the abstraction that is modern human consciousness. The knowledge he seeks - what is Wary doing to Carol? - opens the door on a transformation that grounds him, bringing him closer to the true, perilous state of being alive, an atavistic state that finds its ultimate form as a titan in the post-civilization world of the coda. And herein we see a common journey for the Barronic hero: the search for Cursed Knowledge begins the Unraveling/Unveiling of Reality culminating in a Hideous Fate which leads to one’s Ultimate Form. (Note: Laird has a story titled "Don't Make Me Assume My Ultimate Form.”)
As I write this, my daughter has just called me from DC, upset by terrible dreams of a book that looks like the Bible, but it’s not the Bible, and our cat Izzy who died a few weeks ago has returned, but she keeps fading in and out of view. In her dream, my daughter is scared to get on an elevator because she’s on roller skates and the people in the building say the elevator is really slow, but the doors open, she gets in and the elevator moves so fast she’s floating. When it stops, the doors open onto a garden filled with people who want her to read a passage from the book that’s not the Bible: it’s Zanderthonis, book 2, chapter 3. And she keeps trying to wake up from the dream so she can tell someone about it but she can’t escape the building.
All this to say: Watch out, friends. The dreams, they’re catching.
Connections to other stories:

• The setting of “Jaws of Saturn” is the Broadsword Hotel, seen previously in “The Broadsword.”
• Carol’s former lover is Marvin Cortez, protagonist of “The Imago Sequence.” She mentions him to Franco, and Franco knows who he is. Franco works for Jacob Wilson, nephew of Teddy Wilson whose disappearance is mentioned in “The Imago Sequence.”
• “Hand of Glory” - Phil Wary - under his pseudonym Helios Augustus - sets Johnny Cope on the trail of Conrad Paxton.
• It’s not insignificant that “Jaws of Saturn” clearly ties together the transhumanism stories of The Imago Sequence to the Old Leech stories of Occultation by placing Franco’s and Carol’s conversation about Marvin Cortez in the Broadsword Hotel where Pershing Dennard ran afoul of the Children of Old Leech.

In part VI, the doctor examining Franco checks his eyes and says “something about coloboma.” ClevelandClinic.org notes: “The most recognizable and common colobomas affect your iris (the colored part of your eye) and cause your pupil (the dark center of your eye) to have a keyhole shape.” In other words, what was happening to Carol is now happening to Franco, and the change is the key to unlocking the underlying reality of the world.

Discussion

1. What did Franco see through the hole in the wall in Phil Wary’s apartment?
2. What’s the significance of Saturn, and specifically the de Goya painting of Saturn eating his children?
3. Did I miss connections to any other Laird Barron story?
4. Which Broadsword resident has the worse fate? Pershing Dennard (“The Broadsword”) or Franco (“Jaws of Saturn”)?
5. Which other Barronic heroes undergo the ordeal of Cursed Knowledge > Unveiling Reality > Hideous Fate > Ultimate Form?

Another edition of Cannes Film Festival is starting today, premiering tons of new films that certainly will dominate the minds and hearts of cinephiles around the world for the next months and years - and of course, discurse in this community...
So, to celebrate this magical time, as I did last year I compiled of list for movies covered by the Blank Check gang that had their world premiere or European premire at the Croisette. As you will see, its a fascinating bunch of films.
Quick notes:

1. The list it's most comprised of main feed episodes & director filmographies, with an exception for bonus episodes on Patreon, didn't count the franchises on Special Features (so no Oceans 13 here);
2. I only counted movies which premiered at Cannes at the time of release, discounted retrospective screenings and the Cannes Classics sidebar, so that's why Carpenter, Kubrick & Keaton don't have films here.

So, here's the list:
​
George Lucas:
Attack of the Clones (2002, out of the competition)
Revenge of the Sith (2005, out of competition)
​
Lily & Lana Wachowski:
The Matrix Reloaded (2003, out of competition)
​
James Cameron:
Ghosts of the Abyss (2003, out of competition)
​
Steven Spielberg (Post 1st Oscar Era):
Indiana Jones and the Kingdom of Crystal Skull (2008, out of competition)
The BFG (2016, out of competition)
​
Paul Verhoeven (Hollywood Years & French-Language Movies):
Basic Instinct (1992, in competition)
Elle (2016, in competition)
Benedetta (2021, in competition)
​
Ang Lee:
Eat Drink Man Woman (1994, Directors' Fortnight)
The Ice Storm (1997, in competition. James Schamus won the award for Best Screenplay)
Crouching Tiger, Hidden Dragon (2000, out of competition)
Taking Woodstock (2009, in competition)
​
Tim Burton:
Ed Wood (1995, in competition)
​
Michael Mann:
Thief (1981, in competition)
​
Jonathan Demme:
Something Wild (1987, out of competition)
​
George Miller:
Mad Max Fury Road (2015, out of competition)
Three Thousand Years of Longing (2022, out of competition)
Furiosa: A Mad Max Saga (2024, out of competition)
​
John Musker & Ron Clements:
The Little Mermaid (1990, out of competition)
​
John Singleton:
Boyz N' the Hood (1991, Un Certain Regard)
​
Jane Campion:
Two Friends (1986, Un Certain Regard)
Sweetie (1989, in competition)
The Piano (1993, in competition. Campion won the Palm D’or, tied with Chen Kaige for Farewell My Concubine – and the 1st movie Blank Check covered to do so)
Bright Star (2009, in competition)
Top of the Lake: China Girl (2017, out of competition)
​
Sam Raimi:
(Worth noting that The Evil Dead had his notorious exibition in the 1982 festival that sealed the fame the movie got, but since it wasn’t programmed in none of the sidebars and probably was a market screening I separated from the list)
The Quick and the Dead (1995, out of competition – closing film)
Drag Me to Hell (2009, out of competition)
​
Bob Fosse:
Sweet Charity (1969, out of competition – opening film)
Lenny (1975, in competition. Valerie Perrine won the award for Best Actress)
All That Jazz (1980, in competition. Fosse won the Palm d’or, tied with Kurosawa for Kagemusha. 2nd Palme D'or winner covered by Blank Check)
​
Danny Boyle:
(Shallow Grave was screened at the 1994 festival, but it was a market session, outside the oficial programming)
Trainspotting (1996, out of competition)
​
Park Chan-Wook:
Oldboy (2004, in competition. Park won the Gran Prix)
Thrist (2009, in competition. Park won the Jury Prize, tied with Andrea Arnold for Fish Tank)
The Handmaiden (2016, in competition)
Decision to Leave (2022, in competition. Park won the award for Best Direction)
​
David Fincher:
Zodiac (2007, in competition)
​
David Lynch:
Wild at Heart (1990, in competition. Lynch won the Palme D’or. 3rd Palme D’or Winner covered by Blank Check!)
Twin Peaks: Fire Walk with Me (1992, in competition)
The Straight Story (1999, in competition)
Mulholland Drive (2001, in competition. Lynch won the award for Best Direction, tied with the Coen Brothers for The Man Who Wasn’t There)
Twin Peaks: The Return (2017, out of competition)]
​
Odd ones, One-offs:
Solo: A Star Wars Story (2018, out of competition)
​
Of course, if the reference at the Millenium Actress episode will pan out, Horizon: An American Saga (premiering out of competition at this year festival) could be a future episode. If it's not a jest from the one and only Griffin Newman...

The final Central Oregon Symphony concerts of the season are this weekend: 7:30PM Saturday and 2:00PM Sunday at Bend High School Auditorium (and potentially our last ones there). More info at https://www.cosymphony.com/upcoming-events:

Hailed as an “Astounding Virtuoso” and “Exhilarating” performer, the rising-star percussionist, Britton- René Collins, will join the COS for our season finale. Noted for her exceptional musicianship and active passion for creating social change through her music, Britton-René will perform a new work (Concerto for Marimba) by Australian based composer, Sergei Golovko. Also featured on the concert will be a lightning-fast prelude from Wagner’s opera Lohengrin and Rachmaninoff’s Symphony No. 2, which LA Philharmonic program annotator, Orrin Howard, describes as “an abundance of gorgeously conceived lushness and tautly brilliant propulsiveness, both operating within orchestral textures of rich sonority.”

How do you get tickets to the full symphony concerts this weekend? A few ways:
First: Become a supporting member (the symphony is a non-profit that does a bunch of great events in the community), and they'll be mailed to you ahead of time in the future (and you'll also be invited to our donor-only concerts that we hold twice a year). You can sign up for a membership here or you can learn more and sign up to be a member at the concert by talking to the folks at the membership table in the lobby. Tell them the loud-mouth percussionist sent you (they'll know who you're talking about).
Second: You may pick up a complimentary ticket (yes you read that right, no-cost tickets -- we are supported by our members and donations) from several local bookstores and music stores (give them a jingle to make sure they have some). We'll also have them at the door the day of the concert, just come about 45 minutes beforehand and talk to the folks at membership or will-call tables for your complimentary ticket. :
Bend

• Roundabout Books (900 NW Mt. Washington Dr. #110)
• Dudley's BookShop Cafe (135 NW Minnesota Ave.)
• COCC Bookstore (2600 NW College Way)
• Sunday Guitars (759 NE Greenwood Ave. Suite 1)

Redmond

• Herringbone Books (422 SW 6th St.)
• Art and Music (232 SW 5th St.)

Sisters

• Paulina Springs Books (252 W. Hood Ave.)

Sunriver

• Sunriver Books & Music (57100 Beaver Dr.)

Lastly: PM me and I can check what we have available and I can likely have some held for you at Will Call (again, complimentary -- our goal is to get butts in the seats). Please don't use chat, as that's tricky to do on my phone and I don't get notices with the app I use. Or email me at Jake at orty dot Com. If I don't get back to you, just come to the concert as there will likely be tickets available.
Concert Etiquette: TL;DR: Doors open 30 minutes ahead of time, but they close at the start of the concert (times listed above) and will remain closed until a break can happen. So show up on-time and don't be grumpy to the hard-working volunteers out front. I had to put this in there because of folks being poops to our volunteers at some of our previous shows. Please read our FAQ, because people got grumpy with us in the past for requiring them to hang out in the lobby after the concert started. Symphony concerts are not like rock concerts or other performances. It's incredibly distracting to both the musicians as well as the audience if you're trying to come into the show during the performance, especially when there are soloists on stage and especially at an auditorium like Bend High's where you enter in the middle of the auditorium where everybody can see/hear you if it's quiet. So you will be hanging out in lobby if the show has already started and the volunteers out front will let you in between pieces or between movements. This is common at other symphonies and performing arts groups as well (other performing arts halls may have an area where late-comers can quietly hang out in the back, but Bend High doesn't have that luxury and we don't have a performing arts center yet). If you don't like that, please show up before the concert starts (and not 30 minutes late and complain we won't let you in). Please don't make me complain about you people in another rant/rave thread. I want everybody to enjoy the work we put into this show, but nobody enjoys those kind of folks.
Full disclosure, I'm a member of the symphony and on their board, and I know there are a few other members of the symphony that float around this subreddit as well. We're a non-profit organization, the musicians are all volunteers but are top-notch. Donations are gladly accepted to help with operating costs, hall rental fees, etc... .

So, I've read a lot of theories about this ending, including the director's opinion, etc. I think the best explanation is probably that it was all in Ray's head, but none of the theories I've read mention the theory I came up with while watching:
It's all real, except the end of the world, and Ray is the one behind it all.
Starting right off the bat we can extrapolate that they had no one other than each other that they cared enough about to keep safe. Truthfully I think the whole movie can be explained as a brainchild of one of those "So, if you're locked in a bunker and you can only take one person" types of questions, lol, and it's just ones guys defense of why he would take his best buddy, Mr. President, and how no, that doesn't make him gay.
In one of the very first scenes Billy is reading a book, stocked by Ray, that depicts a homoerotic encounter saucy enough that Billy confesses to having masturbated to it without realizing it was two guys. Ray had a limited number of books to stock for the end of the world, knowing he was going to be sharing this bunker with his best, male friend who is also straight. And he chose that book, and didn't tell Billy what he was reading and then he's like "Oh, would you like some help on that, it can be a little hard..." And the obvious homoeroticism just goes on, like an HP fanfic about Ron and Harry if one of them was a scientist instead of a wizard, they of course have to get started on the obligatory "I can hear you wanking" discussion right before they find the dead fish.
So there's tons of evidence that Ray was already harboring a secret romance for Billy, but what makes me think Ray is behind it all is the gaslighting. Whenever they discuss why this must be happening, specifically the sex change, Ray always turns around any suspicions that Billy has by implying Billy must have done something, even though if one of them had somehow turned the other one into a girl, the logical assumption would be science-bro, not politics-bro. But Billy is really insecure and believes that he's a total fuckup, so this immediately shuts him down and stops him from questioning anything, even though the most likely answer to the questions like "why is this happening to me and not you" is because Ray is making it happen.
So let's go a bit deeper, about how willing Ray is to use Billy's insecurity against him. He teases him about it from the beginning, when the audience doesn't really realize what he's doing. If Billy was the cause of the end of the world, Ray is handling it remarkably well, right? Except when it suits him to bring it up and make Billy feel insecure. He doesn't really appear to blame Billy, just to want to hold it over his head.
We have the background with Ray always "protecting" Billy, but also using his knowledge to control and have power over Billy.
So one line that really stuck out at me was after the storm, Billy was talking about how there might be other bunkers, other people might be pregnant, and Ray snaps at him to be realistic, but doesn't actually make any counter claims about the "storm" clearing up and it possibly being safe to go outside.
My theories are:
A. It is safe to go outside and always has been, and the "storm" is just tearing up whatever external layers Ray used to dark out the dome. Ray brought Billy in here letting him think it was the end of the world, and has been experimenting on him, more or less because Ray has always been in love with Billy but can't face that about himself, and so needs to change Billy.
B. It is safe to go outside, but Ray is upset about this because he knows what he's built with Billy is special and now it's going to be different. When they were the last two people on Earth and no one knew what was happening, sure, Billy was there for him. Now that there are going to be other people, will Ray still choose to be with a man, even a man with female parts? How will Billy feel about it? This theory comes from the question Billy has "what if there are other pregnant people", and Ray realizing there's no way in hell there are and that no one will accept Billy. Also Billy's own body image, his own discussions about how he still feels like a man, and their ongoing metaphorical discussion about which one of them is the top or bottom, man or woman in the relationship. So the final scene is Ray looking through the dome, seeing the sky clearing, and then seeing Billy, so happy and pregnant and miraculous, and Ray is crying because the "safety" is over.
Just, on another note, I found the scene where they discuss Billy getting his period as lame. I liked that he kept it private, but when he said it was "powerful", idk, it made me roll my eyes (as a cis woman). It's the kind of weird take you'd expect from someone who never had a period and was trying to figure out what it felt like, but doesn't really reflect the reality of the what menstruation feels like, and it disappointed me, idk, just fyi most of us don't get our periods and think like "Ah, yes, a surge in my power" it's just like... cramps and juices, dudes. You've had a hammy, just like. Picture a hammy all over your abs and thighs and back, and then you're just leaking blood. When people start glorifying periods it just feels fetishistic, like, glorifying taking a poop lmao. "How did that feel?" "Ah, so powerful, I really, really felt like a man when I birthed that 3lb turd straight into the toilet, what a magical experience."

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This post, in its fullness, is about Ta Mando and the Shiftverse, a setting we'll talk about in a bit but before we get started I do wanna mention something kind of neat.
I've vaguely alluded to how I learned about jumpchains, mentioning that it was through a CYOA creator who also does jumps. Pre-pandemic I was a member of the Make Your Choice & NSFW CYOA communities, and I saw FancyFireDrake's Goddess of Mankind CYOA and I really liked it so I checked out some of their other stuff. At the time I was already paying attention to NSFW CYOAs because of TroyxPage, specifically Grand Adonis which to this day remains at least in my top three favorite CYOAs of all time, and when I saw that I really liked Goddess of Mankind I wanted to see what else FFD had done so I looked through their stuff and saw stuff on Jumpchains. This was happening around the same time I was joining the Shiftverse as a player.
Through the power of coincidence I was joining the Shiftverse, an original setting by a friend of mine named Philososhy, at about the same time I was learning about jumpchains and beginning to really discover the power of crossover fan fiction and stuff like that. Here's a little bit of canon Luciano Lore; as a child I began writing, which is part of what I do professionally and semi-professionally, by writing self insert crossover fan fiction though at the time I didn't know these things had terms. I was raised overseas, as I am an army brat, and I was homeschooled, and my family wanted me to get into reading and writing, and so they had me write stories. I don't think they anticipated the lifelong rollercoaster that that would send me on. Anyways, back to the central topic.

The Shiftverse

Before we get started I wanna say that I'm describing a LIVING setting I'm a PLAYER in not the MASTER of so this information will be necessarily limited and imperfect. That said I'm a VERY passionate player, and given the RL circumstances of this setting and my character's circumstances I know a healthy chunk of lore, though I am not even scratching the surface due to this being a special interest of mine and me being a big nerd, plus my character also has had the chance to learn a lot of neat stuff about the metaphysics at play here and has just been taught a lot of cool lore on the interior of things, SOME of which I'm communicating here in a very broad sense of strokes.
The very, very basic gist of the shiftverse from a player character perspective, is that player characters are... reality TV stars whose lives are shows airing on multiversal, cosmic televisions, and they are watched by monstrous, unknowable beings, while the player characters go from world to world, for various different amounts of time, and just LIVE among the inhabitants of the world, free to do as they please and to interact with locals however they wish. It is a pure coincidence that this VERY basic gist sounds so remarkably similar, conceptually at least, to Jumpchains, though as a very funny matter of fact in the SPECIFIC setting I have a character in, there are others with player characters and another one of us knew about jumpchains before I started sharing stuff about jumpchains in the Ta Mando (the SPECIFIC world my character lives in, which is just one of many settings which exist for the Shiftverse) server (which is public, I'll be posting a link to the world-anvil later).
All of the player character primes (the term used to apply to beings who get sent from world to world for the sake of the tv shows, which does not encompass ALL multiversal wanderers in this setting, and also NPC primes exist) I know of are humans from a mundane Earth, in fact many of us in Ta Mando (though almost certainly not all of us) are from the SAME Earth. Certainly all of the player character primes for Kanda, which is the central location, "location" being used real loosely, are from the same Earth and about the same time period.
Primes get superpowers of various sorts to help us survive and live exciting lives. We're also capable of using the powers native to the world's we visit, though learning and attaining such powers isn't always easy. My character is Jonathan Mondragon, who on Earth prior to them becoming a Prime, was a Puerto Rican doctor. I did insert SOME traits of myself in them, they are non-binary, they are bilingual, they are a charisma main, but my ORIGINAL idea for this character was for them to be a Caribbean Homelander (they have a few different powers, namely the powers of Superman (Smallville style, so the powers are steadily growing and new ones become accessible over time) & a set of social powers, which along with Omega Beams and some doctohealer stuff represent their STARTING kit, in the time since they've arrived they've become a champion of a deity of truth and honor, gained the very beginnings of a dragon's power set, and have attuned to the Ta Mando equivalent to The Force, so we love a chaotic ass power-grabber). That idea... did not last long. Jonathan has been in Ta Mando for a few months now, and is a solidly moral person due in large part to the fucking nightmare they had to endure in the beginning of their time here (they were deliberately summoned by the people of a colony of Kanda who were in a bad spot, and Jon has largely succeeded in solving SOME of the problems but it was ROUGH), and the growth they've endured as a result of both pain and the good things they've done since they arrived. Some other primes include characters with really strong magic stuff, someone who is a Saiyan, and a person who is the Avatar, as well as people more attuned to the Ta Mando version of the force and a Space Marine, so as you can see our power sets can VARY.
There are other vague similarities with Jumpchains, such as vague similarities between items in jumps and items in shifts, as a prime tends to get SOME basic items at the start of a chain (usually a facility which serves as a house, which can differ from prime to prime, and functions as a bit of a less protected/more accessible warehouse) but not ALL primes get that and SOME primes get WILDLY more advanced facilities than others. OTHER items can be included as well, as my character has stuff for medicine and farming, and I know of other primes who've got uranium mines, lightsabers, and even pets as part of their starting kit. There ARE difference, one of the biggest differences is that a shift's (the in-universe term for a stint in a world/setting) length is NOT a decade and can last however long the eldritch beings who run the show feel like, though from what I, Luciano, know it seems like most last about a human lifetime, though there are some that last WILDLY longer than that. Another significant difference, as has been explained and hinted at to my character, is that remembering the details of a shift once you leave is not guaranteed, nor is having and keeping the same powers you once had, and all of this is similar to the idea of drawbacks in a jumpchain but these changes, as far as I know, across shifts do not confer any advantages in exchange like a jumpchain drawback does.

Ta Mando

I'm not gonna say much here, I'll just post two links. One is to the World Anvil for Ta Mando, one SPECIFIC setting in the Shiftverse (there are many worlds someone could get shifted too, Ta Mando is just one of them). The other is to my character's World Anvil page, Jonathan Mondragon. This is not SUPER up to date, but it's the beginning of a good set of articles for people in Soterri, as well as a way to learn more about my adventures. Also, this is a text-based TTRPG campaign and we play using GURPS. It's... weird. I'm very much a D&D person, I've been playing D&D over half of my life (literally, I'm 29, the first time I played D&D I was 13, and I had the books BEFORE then), so it's been an adjustment. I like it though, my character DOES feel powerful and has had plenty of kicks moments, but just LEARNING what I can do and the mechanics of everything was a trip.
Anyways, Ta Mando is my favorite TTRPG setting I've ever been in, there's a lot to discover, there's a lot more for me to do there, and I sometimes think about doing a Shiftverse jumpdoc. I think it'd be very funny to blend the two systems like how I've blended the Troyverse & Jumpchains, and how I plan to blend Akumakami64's Love Azathoth CYOA (have a little surprise announcement, as a treat, for making it this far, but do note that I'm in the middle of my busiest time of the year so this won't be for a minute), but truthfully I just don't know enough to really do it justice. Maybe someday I'll make a jumpdoc for The Shiftverse. it could be fun honestly.

Apologies if this gets long-winded. Up until last month I was a journalist covering anime and manga, so I think I just have to get some words out of my system. Also, and obviously: Spoilers for Dress Up Darling to its current chapters, as well as the manga/anime One Week Friends.
I really enjoyed reading the recent posts from everyone on the analysis regarding chapter 100, if it feels like the book has lost its momentum, how the Comiket arc has made everyone feel, and so on. As someone that came to SBD/DUD via the anime but has dove into the manga heavy during the lull, it's refreshing to see a community taking an introspective look at the story, its arc, and the tug-of-war that seems to go on in regards to romance story versus cosplay tale.
But I also think that, by and large, falling into and caring too much about the "Will They/Won't They" of the story is a trap, and one that, if obsessed over for too long, inevitably leads to feeling let down by the time this story hits its conclusion.
On that note, let's talk about One Week Friends.
Initially released in 2012, Isshūkan Friends shares a lot of DNA with Dress-Up Darling. Both Square Enix joints, the two feature a very similar two-character lead romance dynamic. OWF is the story of Hase, a nervous high school boy who has a massive crush on his seemingly-ice queen class mate, Kaori. Taking a chance one day, he declares to her that he wants to be friends. However, she rejects him almost immediately. He comes to find that it wasn't because she doesn't want friends, but that she suffers from a condition that causes her memories to reset after a week. So, as a protective measure for herself, she just lives a life of stagnation--never making friends, never changing anything. At least until Hase comes around.
The story from there is familiar to Dress-Up Darling, in that a lot of the romantic tension comes from the perspectives of our two leads, as well as the "when are they going to get together?" of it all. In this case, the two sources of tension are as follows:
Kaori: Is entering into a friendship or having romantic feelings in her state fair to the other person? How does it affect her personally to have those feelings but only remember them through a journal--though her memory does begin to improve slightly over time. Is she worthy or friendship or love?
Hase: At a point, he places Kaori on a bit of a pedestal because he's been the only one to reach out to and make progress with this friendless girl. However, as their friend group grows and she becomes a more normal and stable person, he begins to resent not only losing this feeling of specialness, but the fact that he's feeling that way at all--no longer feeling like he's worthy of being there for her.
The parallels to Dress-Up Darling and the most recent stretch of the manga are apparent, as heartbreaking as its been to watching Marin and Gojo fumble in the metaphorical dark in that way that teen romance does so well. For Marin, she's in love with a boy that, at times feels distant, or that his main focus is the work. She's hesitated to confess her feelings time and again, both for the sake of comedy but also just because she's a teenager, and that kind of thing is hard for anyone to confess. She keeps hoping to create situations--some magical moment--where things fall into place and they both confess their true feelings, but circumstances and fate have kind of interfered to that point. However, she knows he's the only person in her life that's ever saw her for who she really is, and that's something she probably feels disconnected from as she approaches the precipice of cosplay stardom and feels more disconnected from Gojo than ever.
Meanwhile, Gojo has a similar issue to Hase in One Week Friends: He's placed this girl on a pedestal. A perfect doll that he isn't worthy of. So, he did the only thing he could ever do: Focus on the work and trying to show he cares through supporting her. However, he's hit the end road of that path, with 'Princess' now seen by the work at Comiket and feeling like, to him, that Marin has outgrown him. He feels unworthy of telling her how he feels.
And yes, both of them are idiots, but that's why we love stories like this in manga and anime.
In the case of One Week Friends, I always felt like that story somewhat fumbled the ball. The anime and the first run of the manga end on a very saccharine, melodramatic note. The two leads have a falling out, but then a memorable reunion on new year's day where they both somewhat confess their feelings. A lot of fans felt left out in the cold that the series didn't end in a full-blown confirmation of love--or even a kiss, but thems the breaks sometimes.
In the case of Dress-Up Darling, I think the takeaway to learn from is that the big, apex moment for this story is inevitably going to be the confession of love. It's what drew the most people into the story and thing that everyone on this sub is obviously waiting for. However, we really don't know if that's the way the mangaka views it, nor if that's the focus.
As insane as that feels to say. After all, what are we doing here if not waiting for Marin and Gojo to figure things out, stop being dumb, and just say how they feel?
Whether or not Dress-Up Darling nails the landing is going to completely depend on that moment. However, I remain optimistic. In a perfect world, I'd want the story to end with that confession finally happening: Marin realizing she needs to go after the things she wants and that the thing that kept her going all this time wasn't the finished product of the cosplay, but the memories made along the way. For Gojo, he needs to stop treating Marin like another hina doll--something to be placed up on a shelf and put behind a glass case, un approachable and only deserving of love from afar. He has to take agency in his own life and needs.
Personally, I could think of nothing better than this series ending with that confession happening and the last chapter detailing how Marin wants to do a cosplay of a traditional Hina Doll, making Gojo think its for an upcoming event. They work together as normal on it, the process and journey being the important part--with the final scene being them getting her ready in his room as always, with Gojo finally asking what the event is for. She responds, fully dressed as that thing Gojo has so admired for the longest time, that the event is just for him, and it always will be. Cut to that big two-page spread shot smile of her, but this time in Hina Doll garb.
Anyways, I'm going back to work.

Background
The Dunmer population of Windhelm is composed primarily of refugees (or born of refugees) who escaped Vvardenfel’s disastrous living conditions after the eruption of the Red Mountain in 4E 5, known as the Red Year. The migration of most of these refugees likely took place in the years following the disaster. In the roughly 200 years since, they’ve built a sizable community within Windhelm’s ghetto, formerly known as the Snow Quarter. The squalor they live in during the present time (4E 201) is indicative of their long struggle to integrate with the Nord majority. Now, why has there been such a struggle?
According to a variety of non-Dunmer NPC dialogue, the common sentiment is that the Dunmer keep to themselves, they do not try to integrate, they do not work hard, and they do not get involved with the war effort. The in-game book Scourge of the Gray Quarter by Frilgeth Horse-Breaker makes many complaints on the Dunmer’s existence in Windhelm, reiterating such sentiments and claiming they do not contribute to the city. That the book makes reference to Ulfric as jarl, it can be assumed that these are at the very least the sentiments of the present time.
The Struggle
The book notably compares the Dunmer of Windhelm to the Dunmer of Riften, claiming the Dunmer of Riften are able to integrate because they are more hard working and engage in honest labor. In this explanation the writer (quite obviously) shows their bias in they neglect the crucial detail of describing the cities themselves. The people of Riften do not have the same level of xenophobia that those in Windhelm do. They do not have a jarl whose actions encourage the separation of multiple “outsider” groups and Nords. The people of Riften engage with the Dunmer like they would anyone else, contrasted with Windhelm where a Dunmer is more often than not labeled as an “outsider”.
The treatment of Dunmer refugees in Riften also differ in that they were not relegated to a ghetto. This is not to say that Windhelm explicitly forbids Dunmer from buying homes outside of the Gray Quarter (although dialogue of Aval Atheron might suggest so), but rather they are not afforded social mobility as a whole. According to Malthyr Elenil ‘s dialogue, the Quarter “wasn't always so bad”. Judging by the architecture relative to the rest of the city, I’d argue that this Quarter was a slum prior to the Dunmer arrival. In essence, it was a slum before they got there and it remains a slum today (if not worse), but is it the fault of the Dunmer? According to the dialogue of Scouts-Many-Marshes, an Argonian living on the Windhelm docks, it is implied that an Argonian working in Windhelm makes 8 septims per day plus lodging, presumably a tenth the wage of a “proper Nord worker”. Whether or not this “tenth” is an exaggeration or not, Scouts refers to this level of pay as akin to slave labor. Comparing the squalor of the Argonians and the Dunmer, and taking into account the kind of jobs available to them in this city, it can be fairly assumed that the Dunmer do not make much more money than the Argonians when working for the Windhelm Nords. Contrasted again with Riften, where no such race based pay gap seems to exist. How can the Dunmer be expected then, to adequately maintain their neighborhoods on a pay that is a mere fraction of a Nords?
Trying to make a comparison of “work ethic” between the Dunmer of Riften and Windhelm is inherently unfair when you ignore the near diametric social conditions of the two cities. This is also indicative of the Windhelm Nord’s refusal to acknowledge the roots of Dunmer issues. The old jarls of Windhelm may have accepted the refugees, but the Nord citizens have clearly endeavored to keep them at an arm’s length, leading to the segregation of the Windhelm Dunmer we see today.
The “Good Ones” and the Model Minority
Many might look upon Beylyn Hlaalu as proof that any Dunmer can work their way out of poverty. He is the only Dunmer land owner in Windhelm, a proud man who credits his success to his hard work and resents the poorer Dunmer for complaining. But what many fail to consider is that he is a descendent of House Hlaalu, a former Great House of Morrowind. Although House Hlaalu at this point has lost all major political power, they’re still a family of considerable wealth and influence in Raven Rock, albeit under a fake name. I find it rather likely then, in a culture who so values clanship, that Beylyn Hlaalu has had monetary support from his wealthy relatives in order to at the very least kickstart his farm. And although there are no explicit pieces of lore that support this, one must wonder if it is truly coincidence that the shining example of Dunmer success is one born from a not too distantly historically powerful family.
The successes of the Altmer residents in Windhelm are also cited as proof of Dunmer failings. They are Nurelion, Niranye, Ulundil, and his wife Arivanya. Niranye is presumably the newest Altmer migrant to the city, saying she's only just arrived from the Summerset Isles. She is the only one of the Altmer to make references to mistreatment by Nords, claiming that it was difficult at first but she'd eventually proved her usefulness. Clearly she has been able to integrate with Nord society, and once again it is credited as her own hard work. But is that completely true? There are three factors for her ease of integration that are being ignored here: Unlike the Dunmer, the Altmer arrived as business minded merchants and not as refugees, There were already well established and respected Altmer living in the city prior to her arrival, and her business is unfairly propped up by her dealings with crime guilds. Her business directly competes with that of Ravyn Sadri, a Dunmer general goods merchant. By acquiring her goods through her criminal connections and selling at absurdly low prices, she is able to quite easily undercut Ravyn’s business, who operates honestly.
Referencing Scourge of the Gray Quarter again, the writing finishes by claiming that Windhelm Argonians should be the model for Dunmer behavior and acceptance. They write that the Argonian “has learned how to best contribute to their new home…toiling with utmost efficiency and bright smiles”. Once again this text omits crucial details. The Argonians are forbidden, by decree of Ulfric Stormcloak, from entering the city. And make no mistake, this segregation is not because of the racial tensions between Dunmer and Argonian. According to dialogue from Brunwulf Free-Winter it was primarily due to Ulfric’s distrust of foreigners and Nord stubbornness. They are only permitted to reside on the docks and, as stated before, make a mere fraction of the pay of a Nord worker because of the explicit reason of not being a Nord. This is the proposed model for acceptance? Exploitation, racial hierarchy, and wage slavery? Who reads Scourge of the Gray Quarter, looks at the Argonians, and genuinely thinks they’ve successfully integrated?
When holding these so-called examples of Dunmer failures to light, it’s clear to see that they hold little water. The successes of the “good ones” are not wholly the result of pulling themselves up by their bootstraps, but likely by benefitting from pre existing privileges that gave them an advantage over the Dunmer as a whole. And the proposed solution for those without such privileges? Becoming servile and catering to the Nords at the Dunmer’s own expense. In the face of mistreatment and mistrust by the majority group, an administration that refuses to listen to them, racially biased pay gaps, a competition that cheats them, and wage slavery: how rational is it to say all they need to do is “work harder”?
Another Man’s War
A common criticism of the Windhelm Dunmer is that they refuse to join Ulfric Stormcloak’s war effort. Many claim that it is their duty as residents of Windhelm, that they owe a debt to the city for taking them in as refugees 200 years ago. But I ask you this, why should they fight on behalf of a system that harms them? It should first be said that the Stormcloak Rebellion’s primary function is to release Skyrim from the rule of the Empire, so that Skyrim’s people may solely be governed by those who live in Skyrim (Ignoring for a moment that Ulfric’s rebellion was set in motion by the Thalmor to weaken the Empire, according to the Thalmor Dossier). An admirable sentiment, but it has manifested itself as highly xenophobic and oftentimes hostile (most commonly verbally) to those who are not Nords. In the case of the Windhelm Dunmer, it has led to the local Nords being more distrustful than ever before. More dialogue from Brunwulf indicates the escalation of racial tension in the city is primarily the result of Ulfric’s “Skyrim for the Nords” rhetoric. This paired with Ulfric’s complete apathy towards the issues faced by non-Nords in his hold communicates a hatred towards them and systematically harms them.
Many players are under the impression that the Dunmer received free housing and live tax free due to what is written in the Decree of Monument."untithed to any thane or hold, and self-governed, with free worship, with no compensation to Skyrim or the Empire”. I’d argue the text is referring to taxes rather than housing, and no other in-game source makes reference to the housing situation either. But does that mean it is true that the Dunmer don’t pay taxes? One of the outcomes of Revyn Sadri’s quest results in him having to pay “increased taxes” to the city of Windhelm, implying that yes, the Dunmer are currently paying taxes. I do not think it is likely that only Revyn or only some Dunmer are paying taxes. It can be fairly assumed then that at some point between 4E 20 (when the monument was placed) and the present time of 4E 201, the Dunmer were made to pay taxes like any other citizen. As for housing, I find it unlikely the Dunmer received the Gray Quarter for free. As stated earlier, it was likely a slum to begin with, meaning it would’ve been considerably cheap to move in. Perhaps offered to them at a reduced price. It is important to note that the Dunmer being refugees at the beginning does not automatically mean they were penniless upon arrival, likely poor, but it would be unrealistic to assume all of them had nothing at all. Realizing now that the Dunmer of Windhelm are tax paying citizens who are continually ignored and othered by their ruler, it surely must be understandable then why they would refuse to fight on behalf of a system that at this point only takes from them. They owe the Nordic administration no loyalty
Conclusion
With a ruling majority that will more often than not shun, insult, or exploit them, It is no wonder then how the Dunmer of Windhelm as a whole have not been able to integrate, that they “keep to themselves”, that they “don’t contribute to the city”. For how can one integrate with those who refuse to ever fully accept them? If you wonder why they do not leave, with what funds could they start anew? If you wonder why they dont help the Nords in their war, why would they fight for a cause that harms them? The system is as the system does, and that system is racism.
Author’s Note
Idk what I wrote all this for lmao. Ive been playing skyrim for over a decade so I guess I thought it would be interesting to engage with the game in another way that's new to me. It was only recently that I got more interested in actually talking to NPCs, learning more about the game world, not just in it for the cool fights and jiggle physics mods (tho i do love em). There's a good degree of guess work here, which I suppose is to be expected with what few pieces that are available we can put together. But I tried to cite as much from official lore as I can. Was def fun trying to take a more nuanced lens to this fantastical game world.
But what do you think? Do you think my analysis is accurate? I'd love to see your opinions on the topic!
SOURCES
https://elderscrolls.fandom.com/wiki/Red_Year
https://elderscrolls.fandom.com/wiki/Scourge_of_the_Gray_Quarter
https://elderscrolls.fandom.com/wiki/Malthyr_Elenil
https://elderscrolls.fandom.com/wiki/Aval_Atheron
https://elderscrolls.fandom.com/wiki/Scouts-Many-Marshes
https://elderscrolls.fandom.com/wiki/Belyn_Hlaalu#Conversations
https://elderscrolls.fandom.com/wiki/House_Hlaalu#Fourth_Era
https://elderscrolls.fandom.com/wiki/Vendil_Severin
https://elderscrolls.fandom.com/wiki/Niranye
https://elderscrolls.fandom.com/wiki/Revyn_Sadri
https://elderscrolls.fandom.com/wiki/Brunwulf_Free-Winter
https://elderscrolls.fandom.com/wiki/Thalmor_Dossier:_Ulfric_Stormcloak
https://en.m.uesp.net/wiki/Skyrim:Decree_of_Monument