Welcome to Poetry Corner

Welcome to May!
We have entered the May flowers portion of spring. There certainly is a lot of pollen, but also a lot of rain where I am—Maryland is bouncing between hot and frigid, and I would say it needs to make up its mind, but…. We all know it won't.
However, I have made up my mind about this month's theme! And Im excited to get to it.
I had a suggestion a few weeks ago to include some sources for crit – I don’t have them ready now, but I will get some stuff together for you guys soon, I swear. I am always open to suggestions <3
Let’s face it: poetry is a strange land for many of us. What makes a poem? Does it have to rhyme? Follow a structure and meter? Does it have to be based in emotion? All these are great questions. Poetry comes in all forms and styles, rhyming and non-rhyming, metered and freeform. Some poems even tell a fictional story, like prose does! Some poems don't use any line breaks at all, and Prose-Poems can be tricky yet effective. I'll give you a nudge here to look into them and maybe try them out. Who knows, maybe a constraint is coming our way.
Each month, I provide you with a simple theme and an additional constraint to inspire you. You have 60 - 350 words to write a poem based on that theme. Poetry is often shorter than prose, so word choice is important. Less words mean each word does more. Be sure to read the entire post before submitting!  

This Month’s Challenge

Theme: Gravity IP MP Bonus Constraints:

• Lean into horror, either thematically or narratively.

Gravity, honestly, should be easy. The hardest part might be picking one direction over another.
The gravity of the earth? The gravity of your emotions? The pull of the deep ocean or the urge to explore the stars?
Its really up to you!
Need some help with some horror-themed poems? I got you! An elegy is a poem of serious reflection, and in English literature usually a lament for the dead.
I am encouraging the poets this week to stretch that definition of dead as well, especially since we did just do death last month! Examples:
Déjà Rêvé. BY Avra Margariti
Because I could not stop for Death by Emily Dickinson
These are just a few ideas to get you started. Remember, you can interpret the theme any way you like as long as the connection is clear and you follow all sub and post rules. Don’t forget to leave feedback on at least one other poem by the deadline (it is a requirement)!

Schedule

• Submission deadline: Wednesday, May 1st, at 11:59pm EST
• Feedback & Nomination deadline: Tuesday, May 21st at 11:59pm EST
• Campfire: None scheduled for May. Please leave comments on the post. Check out previous Poetry Corners here!
  

  How To Participate

• Submit a 60 - 350 word poem inspired by the theme as a top-level comment below. You have until next Wednesday at 11:59 p.m. EST. Please note that for this particular feature, poems must be at least 60 words. Low-effort poems will be removed. No pre-written content.
  
• Use wordcounter.net to check your word count. The title is not counted in your final word count. Poems under 60 words or over 350 will be disqualified.
  
• Leave actionable feedback on at least one other poem Each critique is worth up to 10 points, up to 50 points. I really encourage trying, even if you are new to poetry!
  
• Nominate your favorite poems from the thread using this form (it will open after the submission deadline). You get points just for voting!
  
• Please be respectful and civil in all feedback and discussion. We welcome writers of all skill levels and experience here, as we’re all here to improve and sharpen our skills. Uncivil or discouraging comments will not be tolerated and may result in further mod actions.
  
• Be creative and have fun! If you have any questions, feel free to ask them on the stickied comment on this thread or via modmail. Top-level comments are reserved for poem submissions.
  

Point Breakdown

TASK	POINTS	ADDITIONAL NOTES
Use of the Weekly Theme	up to 50 pts	Theme should be present, but the interpretation is up to you!
Use of Bonus Constraint	10 pts	(unless otherwise noted)
Actionable Feedback	up to 10 pts each	1 crit required; you’re welcome to provide more crit, but pts are capped at 50
Nominations your poem receives	20 pts each	No cap
Mod Choice	20 - 50 pts	First- 50 pts, Second- 40 pts, Third- 30 pts, plus regular noms
Voting for others	10 pts	Don’t forget to vote by the deadline!

 
Note: *Actionable feedback should be constructive, something that the author can use to improve. Feedback can also be positive, like what you enjoyed, how it made you feel, parts that flowed particularly well, images that stood out, etc.

Rankings for Echoes

Winners:

• First place by u/Lothli
• Second place by u/SaltedCaramelJedi
• Honorable Mention: by u/Tomorrow_Is_Today1

Subreddit News

• Join our Discord to chat with other authors and prompters! We hold several weekly Campfires, monthly World-Building interviews, and several other fun events!
• We are currently looking for moderators! Apply to be a moderator at any time.
• Nominate your favorite WP authors for Spotlight and Hall of Fame!
• Experiment with fun tropes and genres on the new Fun Trope Friday!
• Serialize your story with Serial Sunday or test your micro-fic skills with Micro Monday on ShortStories! ***

Dear Poetry Fanciers,
Welcome back for a special Victorian edition of Poetry Corner, brought to you by u/NightAngelRogue and a splendid accompaniment for our upcoming read of The Thrilling Adventures of Lovelace and Babbage. Just a reminder, if there is a special poem you would like to feature in Poetry Corner, just send me a message and we'll get it the schedule!
_____________________________________________________________________________________________________________________ Joke:
Q: Nelson Mandela, Tuberculosis and Long John Silver walk in a bar. Who are they talking about as they go in?
A: Probably William Ernest Henley (1849-1903).
____________________________________________________________________________________________________________________
Poet, journalist, literary critic, editor, publisher, translator and Victorian-extraordinaire, Henley, was a good friend to Robert Louis Stevenson, who he inspired to write the character "Long John Silver" in Treasure Island. Stevenson, writing to Henley-" I will now make a confession: It was the sight of your maimed strength and masterfulness that begot Long John Silver ... the idea of the maimed man, ruling and dreaded by the sound, was entirely taken from you". The friendship was a tumultuous and long one.
Henley's sickly daughter, Margaret, was the inspiration of "Wendy" in J.M. Barrie's Peter Pan. She would not live long past her 5th birthday, the only child Henley had with his wife, Hannah "Anna" Johnston Boyle. Tragedy had long painted his life even before this sad event. He was diagnosed with a rare form of tuberculosis at age 12, that affected his bones. His left leg had to be amputated below the knee when Henley was a young man, and he was often in the hospital with various abscesses that need to be drained. Frequent illness kept him out of school and interrupted his professional work. Henley eventually sought out the advice of Joseph Lister, who was pioneering new techniques, including antiseptic operating conditions and doing groundbreaking research on wounds, when his right foot become affected by the tuberculosis. Still, his ill-health did not keep him from practicing his art. While Lister kept him under observation at the Royal Infirmary of Edinburgh, from 1873-75, Henly wrote and published a collection of poems, which include today's selection, In Hospital (1903). This collection of poems is notable also because it was one of the earliest examples of free verse in English poetry. Henley and others in his group became known as the "Henley Regatta" for their championing of realism, such as the poor working conditions in the Victorian underbelly, in opposition to the Decadent movement in France and the Aesthetic movement closer to home. This would be the last collection of poetry and the most impactful of his work; his death would follow later that year. Unfortunately, a fall from a carriage reawakened the latent tuberculosis hiding inside him, which carried him off age 53. He was buried next to his daughter, in Cockaney Hatley, Bedfordshire. His wife would later also be buried alongside her family.
His legacy is one that is both inspiring and rather dispiriting. His poetry was used for jingoistic and imperialist causes, and to champion war, though much of it was about personal striving and inner resolve-the mythical "Stiff Upper Lip" of the Victorian era. This led to push back in the literary world, as D.H. Lawrence's short story, "England, My England and Other Stories" took flight from one of the lines from "Pro Rege Nostro", which is more patriotic than his usual work. Admittedly, he counted himself as a conservative and supported the imperial effort, as much of Victorian society did at this time. Still, his work fell into obscurity, with the main exception of "Invictus"-Latin for "unconquered". It is well known that Nelson Mandela recited this poem to his fellow inmates in Robben Island as a reminder to stay strong and keep one's dignity. There are also, of course, the Invictus Games, which are held for injured and sick service men and women and veterans in the UK.
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Winston Churchill to the House of Commons, September 9, 1941:
"“The mood of Britain is wisely and rightly averse from every form of shallow or premature exultation. This is no time for boasts or glowing prophecies, but there is this—a year ago our position looked forlorn, and well nigh desperate, to all eyes but our own. Today we may say aloud before an awe-struck world, ‘We are still masters of our fate. We still are captain of our souls.'” (link)
_____________________________________________________________________________________________________________________
Sidney Low, in "Some Memories and Impressions – William Ernest Henley". The Living Age (1897–1941) describing his friend:
"... to me he was the startling image of Pan come to Earth and clothed—the great god Pan...with halting foot and flaming shaggy hair, and arms and shoulders huge and threatening, like those of some Faun or Satyr of the ancient woods, and the brow and eyes of the Olympians." (link)
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Andrzej Diniejko on Henley as "poet as a patient" and his work predating modern forms of poetry "not only in form, as experiments in free verse containing abrasive narrative shifts and internal monologue, but also in subject matter". (link)
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
"Invictus"
by William Ernest Henley
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
_____________________________________________________________________________________________________________________
This poem is in the public domain.
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Some things to discuss might be the title. How does the defiant spirit of this "Unconquered" opening play throughout the lines of the poem? There is also a reference to the Bible Verse Matthew 7:14 in the poem, "Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it". Why do you think this included? What lines stand out to you? How do you see him fit into the Victorian literary furniture, if you will? Have you heard this poem before? How does this fit in with the melancholy feel of the Bonus Poem, if you read it? What other poets do you enjoy from this era of literature?
_____________________________________________________________________________________________________________________
Bonus Poem: We'll Go No More a-Roving
Bonus Link #1: "Love Blows As the Wind Blows" (1911) song-cycle by George Butterworth, with Henley's poetry put to music and song.
Bonus Link #2: A literary review of the Victorian Era.
Bonus Link #3: Read the other poems included in the collection, In Hospital.
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
If you missed last's month poem, you can find it here.

I finally finished Secrets of Grindea on the hardest difficulty, getting the true ending and 100% completion ingame, took me about 30 hours which I think is very reasonable, doesn't overstay its welcome. Here's a short review in case anyone is thinking of getting it, no spoilers of course.
Story:
As the game tries to emulate SNES JRPGs, the story consists of you collecting various macguffins to achieve your goal that becomes clear as you progress through the game. That's all I can say without spoilers.
Music:
It's very good, one of the game's strongest parts. You got cheerful songs that make you forget about your worries, you got spooky songs, you got desert theme, you got sick orchestral songs. It's overall very good, one issue is that most of the songs are roughly a 1 minute loop so you will get tired of them eventually.
Controls:
They are not the tightest, I often found myself shielding in the wrong direction because the shield came out slightly too late or using a skill in the wrong direction, it just doesn't feel tight enough especially for the later bosses. The hitboxes in the game are also very bad.
Gameplay:
As the name implies, there is grinding. As I said at the start it took me about 30 hours grinding included, multiple retries at bosses to learn them so it's on the lighter side of JRPG grinds. The gameplay has a lot of variety with 2 melee skill trees, 4 magic skill trees and 9 utility skills that are neither and 3 separate passive skill trees so there is a decent amount of variety and player expression. I tried out a bunch of the skills and they all mostly felt good, I played a melee tanky 2 hander.
The main thing you will be grinding for is cards which give you small stat boosts that add up, for 100% you will also be grinding for enemy specific drops which are usually 1% or less droprate or materials to craft every item for completion. Cards start at a very low droprate depending on the enemy, some enemies start at 1% but most start below 0.5%, however there is a pity system that slowly increases your chance and I don't think I needed more than 400 kills of any enemy to get their cards.
Balance:
The balance is very questionable. In my experience 2H was significantly worse than 1H but I'm stubborn so I refused to switch, I never used basic attacks on 2H because they are very slow and their damage does not make up for it, I bonked everything to death with the slam attack. Armor is kind of useless unless you specifically stack it. Hybrid builds are not very good because you will just not deal enough damage, you can also only max out 2 spells completely by level 40 which is the soft level cap. Skills past a level need Gold Skill Points which you don't get a lot of.
Utility skills are amazing so they will be taking up majority of your hotkey slots, they also only cost 3 points to max out so their value is massive.
I think balance needs some work but it's not gamebreaking.
Puzzles:
I'm not a puzzle guy but the puzzles were pretty fun. You got usual sokoban, you got bouncy mirror puzzles, you got math puzzles, you have treasure maps with images and poems. They are mostly easy and don't take a lot of time to do with the exception of a few optional puzzles.
Enemies:
You got basic things like slimes, rabbits, boars, but there is also sand golem, ghosts, yetis, stone statues, teleports behind you man. The overall enemy design and roster is very varied and they are all unique but there is one problem. During grinding, the longer you stay in a room the more enemies will spawn and this gets really bad after halfway into the game because there is a lot of enemies that got massive attacks or shoot projectiles nonstop so the entire screen will be covered in projectiles and you cannot see. Enemies can also interrupt your spellcasting if you get hit, there is a passive that gives you a chance not to get interrupted the more armor you have but if you are a spellcaster, you don't have enough armor to use that effectively, even my melee bonker with 150 defense often got interrupted which is very annoying.
Bosses:
The part I'm the most mixed about. There is a lot of gimmicky bosses, some normal bosses that are just dodge checks and some bosses that will make you want to turn the game off. There is a lot of bosses that take from the enemies in filling the screen with projectiles nonstop but the lack of tightness in the controls makes dodging them very annoying. There are bosses that are multiple bosses so you have to pay attention to 4 different things and try to block all of them at once which you can't so you will get hit unfairly because you can't look at everything at once. Of course every boss can be beaten with a little trying or grinding but majority of them wasn't very fun, the rest of the game is but the bosses feel like they were made for a different game.
The game also has an issue with insane difficulty spikes out of nowhere.
True Final Boss:
This needs its own section.
It took me about 3 hours to beat him and he was incredibly hard but for the wrong reasons. Its attacks are randomized and they can overlap in various ways, some way harder to dodge than others so it becomes a really RNG heavy fight when the fight is supposed to be pure skill with no cheese strats. On the highest difficulty, the fight takes away your health potion and your magic bubble so you cannot use them, it's meant as a fight to show your mastery of the game. It requires really split second parries and turns and really tight dodging but as mentioned above, the controls aren't the greatest so you will get hit when you thought you blocked the attack combined with dodgy hitboxes.
It's a very cinematic fight though and I am 100% happy that I spent the effort into getting the fight and actually learning it despite all of its issues.
Overall:
I think the game is a very solid 7/10, it has its issues but it's still a great game even if it pissed me off in a couple of places and I would definitely recommend. I haven't even touched the arcade mode yet which has its own story and own gameplay, I'll do that later.

I wasn't planning on watching Thrice Upon A Time. I had not liked the previous films and they seemed like a very inferior product compared to the original anime. However, the good reviews and opinions I saw about it encouraged me to do so. I did it with as open and tolerant a mind as possible, knowing that there was a good chance I wouldn't like the film. "What's the worst that could happen? That I don't like it and continue to prefer the original series? At least I'll be entertained for two and a half hours," I thought. What I did not expect at all is the deep feeling of disgust and repulsion that this film provoked in me, in a way that no other film has provoked in years.
I hated the movie from start to finish. I could spend hours talking about the boring action sequences, about its ugly, excessive CGI that ruins the already ugly mecha, about its disgusting hypersexualization of fucking 14-year-old girls, about how Misato's plans don't make sense, about how Last Kiss almost made me tear my ears off, or its plot full of Deus Ex Machinas with concepts conveniently taken by Hideaki Anno from the place that his last name suggests; but the real reason I'm writing this is because I feel like these movies spit on everything the excellent original work represents.
Not only because as adaptations they fail miserably, but also because they retroactively damage the original work (we'll talk about that later).
Before I begin to explain why the rebuilds are bad adaptations, I want to warn that I am going to do a relatively exhaustive review of the 4 films, so this rant is going to be very long, like staying up late on a winter night with chronic insomnia. That said, let's start to see the reasons:
WHAT IS NEON GENESIS EVANGELION?:
To understand why rebuilds fail as remakes, I must first ask you, dear reader: What does Neon Genesis Evangelion mean to you? (it should at least be familiar to you, unless you've spent your life under a bridge) What do you think about when you read that title, apart from Shinji fucking in front of a comatose Asuka? What comes to mind when you hear the most famous opening in anime history, apart from Shinji strangling the otter against Happy Thursday's throat? (in more ways than one). If your answer is: "It's a mecha anime for emos with a coomer protagonist", that's fine, I respect that; but please press the red "X" in the top right corner of your screen, you can now leave.
Now, I'm going to get serious and explain my definition: Evangelion is a work about the hedgehog's dilemma and the difficulties of forming emotional bonds that human beings have, as well as the consequences of trying to separate from them for fear of rejection. It is not a story about heroes. It's not a story about saving the world. In Evangelion there are neither heroes nor villains, but rather a group of emotionally broken characters trying to be happy in a world just as broken as them. The real enemy of Evangelion is not the angels. It is the lack of communication and empathy.
https://es.wikipedia.org/wiki/Dilema_del_erizo
It is that same lack of communication and empathy that progressively causes everything to go to hell to conclude with a cathartic and bleak ending, but consistent with the themes of the work. It is therefore an existentialist work about human relationships disguised as a mecha anime. This, added to a unique visual style, daring direction, and mechas like never before seen on television, made Evangelion one of the most influential anime in all of history, as well as a true commercial success for Gainax Studio. Success that encouraged other studios to carry out projects such as Cowboy Bebop or Serial Experiment Lain, taking anime towards a new golden age.
Even today you can hear the echoes of that Third Impact of End of Evangelion in 1997. The list of works influenced by Evangelion both inside and outside of Japan is endless. Of course, it is not a perfect work, nor extensive in errors: its target audience is ambiguous, many of the biblical references are more for decoration than anything else, and several aspects of the ending(s) could have been explained better. However, many of these errors can be attributed to a lack of time and budget during the production of the original anime (which was quite chaotic and improvised); therefore, they are understandable and forgivable.
In summary, we can conclude that Evangelion is a dark, introspective, provocative and unique work (at least at its time). This is also combined with a unique visual identity and complex characters whose relationships intertwine and interconnect throughout the work. The sum of all these factors is what led Evangelion to be such a critically acclaimed work that it transcended its own genre and became an icon of popular culture. And this in turn constitutes the biggest mistake of rebuilds; because they commit the biggest sin that an adaptation can commit: denying everything that made the original work great.
ADAPTING WITHOUT A CLEAR PURPOSE:
One of the biggest problems with these remakes (as well as a clear example of what I'm saying) is their total narrative inconsistency. Let me explain: the first rebuilds movie (1.11) is a literal copy-paste of the first 6 chapters of the original anime, with practically the same scenes, dialogues and even music. This makes the film completely redundant and unnecessary (and makes one wonder why it exists); But in any case, the message is being conveyed that the purpose of these remakes is to adapt the original series as faithfully as possible to the cinema with a current animation style.
However, the second movie (2.22) is a... something. A pastiche of new and old things where the plot broadly follows that of the original anime, but with many things changed (of course, for the worse) and a different ending. All this compressing no less than 14 chapters of the original anime into two and a half hours. Here the message that one can infer is that it seeks to adapt the original story (very briefly) by changing and rearranging certain elements, now more in line with what an adaptation is.
However, then we get to 3.33 and... well, after a 14-year because reasons timeskip, we're now in a post-post-apocalyptic world (repetition intended) where ex-Nerv members fight against Nerv itself. Nerv in giant spaceships, there are mechas everywhere, Misato is a sociopath, and Shinji and Asuka still look exactly the same because "DAMN JEBA." Here we can infer that what is sought is to create a totally new story and take it in different directions than the original. The following movie (3.0+1.01) is the only one that is consistent with this purpose.
Whether all these narrative pirouettes were planned in advance or not (clearly not), we can see that there is a clear incongruity between what is intended to be done and what is finally done. All of this generates a strong narrative chaos where the elements and themes of the original anime are mixed with the new ones, creating a total inconsistency. Since also in 3.0+1.01 it is revealed (unfortunately to me) that everything is part of the same universe and this is not really a remake, the excuse of "they are different universes, they don't have to be the same" doesn't work either.
In fact, one thing that you will see me comment a lot throughout this article is the lack of narrative consistency of these remakes, especially in comparison to the original work.
A HEDGEHOG WITHOUT TICKS:
No character in Evangelion better embodies the central theme of the work than Shinji Ikari, its own protagonist. Shinji is not a hero: he is not brave. He is not a genius. He is not charismatic. He is not selfless. He doesn't want to save the world. His reason for piloting the Eva is to gain recognition and appreciation from others; especially from his father, whom he hates, but at the same time admires; He feels that she despises him, but he also wants (and needs) that she loves him. Shinji spends the entire series in the dilemma between escaping from what hurts him (classic avoidance behavior) or accepting it and moving on, even at the risk of being hurt again.
This theme is rock solid throughout the entire original series: from the first to the last chapter of the anime, and from minute one to the very end of End of Evangelion. Even the opening itself makes several visual references to Shinji's hedgehog dilemma. This can make Shinji an infuriating character for audiences accustomed to typical anime protagonists; but it's those same things that make Shinji such a unique and special character. He deconstructs and subverts the hero's journey. And it's not as if this hinders the plot: Shinji is not proactive, but he also does not spend the series crying, as many often claim.
https://files.catbox.moe/eolho0.mp4
https://es.wikipedia.org/wiki/Monomito
And as you may already be imagining, the Shinji of the rebuilds does not have a hedgehog's dilemma. Or rather, he has it, but only during the first movie (copy-paste of the original anime) and part of the second. This is a problem, because it creates a strong narrative inconsistency (again) where it seems that two Shinjis exist at the same time or that this one is bipolar. As of 3.33, Shinji's entire character arc is based on trying to redeem himself for his past mistakes first by unleashing "Almost Third Impact" (what a stupid name) and subsequently preventing Kaworu's death while trying to right said mistake.
Is this a bad thing? Not necessarily. The problem is that I have already seen the arc of the hero who fails to eventually rise up and succeed in 100 trillion works, while the hedgehog's dilemma in none more than in Evangelion (at least in my case). Which makes Shinji a much less interesting character. Some might argue that in 3.0 + 1.01 Shinji does have such a dilemma because he spends half the movie crawling on the ground; but there is not a hedgehog's dilemma, but rather depression for having seen Kaworu's head go KAWOOM (I know, the joke was very bad, but if he didn't do it, I would explode too).
End of Evangelion's Shinji did have such a dilemma because the reason for his depression was having been manipulated and used by someone he had previously opened up to and then forced to kill him, not for failing in his mission (in fact, he was very efficient in her mission to separate Kaworu's head from her body), which in turn brings sexual (and later, deadly) results for Asuka. I insist: narrative consistency. But this is not the worst: the worst thing is that at certain moments in these films, Shinji becomes the typical shonen savior hero, betraying the central point of his character in the original series.
https://youtu.be/E-x-f2OrWeA
A perfect example of this is the ending of 2.22, where the fight in chapter 19 (COINCENTLY from where the original anime starts to get more introspective) is transformed into a ridiculous shipping attempt, with Rei turned into a damsel in distress and Shinji into a savior hero while spouting all the typical cliché lines, topped off with a disgustingly cheesy ending. But of course, how could it end otherwise? With Shinji's Eva practicing cannibalism on Zeruel's corpse (the original scene)? Too disturbing for current times. Shinji and Rei fighting as a team to defeat him? Yes of course. Rei has enough not being in the kitchen. Besides, Asuka already takes care of that, hoping to receive her alpha male's cock as a reward.
https://youtu.be/TPS0Uk0TkP0
Because, like any good modern anime protagonist, Shinji now has a harem.
FETISHING WITHOUT CONTROL:
Of all the characters who are now part of Shinji's harem, the one who is most harmed by this is Rei (Asuka's case is different, and the other character is an infernal creation from Anno's sick mind). Not only because acting like a bitch in heat goes totally against her personality and because of the murky situation, considering that she is a clone of Shinji's mother, but also because her character is reduced to a mere fetish object that does things cute to produce tenderness in the viewer and make coomers buy their figurines.
Rei is an interesting character because he raises numerous existential questions based on the ship of Theseus paradox: the concept of identity, to what extent we can consider ourselves still ourselves, the construction and definition of a "self", etc. But here, her screen time piloting her Unit 00 is minimal (COINCENTLY most of it in 1.11) and her exploits are practically irrelevant or non-existent, also being reduced to a mere damsel in distress at the end of 2.22, as I said before.
https://es.wikipedia.org/wiki/Paradoja_de_Teseo
In 3.0+1.01 he doesn't even get to pilot an Eva. Her role in the film is to cause pity and produce tenderness with her total ignorance (I see that the idiot Anno forgot that all the Reis are born with basic knowledge) while she is seen with different hairstyles, different outfits, working as a farmer, taking care of a baby, etc. In short, a fetish object where she wants the public to value her for how "moe" she is instead of for her abilities or as a character. In Anno's mind, feminism advances in reverse. Ironic, considering that it was precisely Rei who unintentionally started the moe culture.
Of course, it goes without saying that Rei is not the only one who suffers from this extreme fetishization of her character in these films. Under the excuse of paying homage to End of Evangelion, Asuka now always wears an eye patch (needless to say it has nothing to do with having been injured there), a cap with cat ears, in addition to having a very convenient trend for the coomer public of walking naked and semi-naked through other people's houses. She sometimes puts on the plugsuit, but near the end of the movie, it is conveniently torn off, lest we forget that this is made by the Japanese.
One of the best examples of how this hareminication has destroyed the main female characters is in the elevator scene. In the original anime, Rei tries to advise Asuka in a time of particular vulnerability and depression. Rei's limited social skills, coupled with Asuka being Asuka, cause her to misinterpret the attempt to help as mockery and an act of condescension, triggering a slap from her towards Rei and a worsening of her already strained relationship and Asuka's mental state. Rei doesn't fight back because she knows that doing so would only make things even worse.
It is an excellent dramatic scene because it once again brings to the foreground the hedgehog's dilemma and the difficulties between human relationships, very much in line with what Evangelion is. In 2.22, this scene is gratuitously introduced and turned into two horny bitches fighting over which of the two will let their alpha male penetrate first, with a highly OC Rei stopping the assault attempt in a 100% gangsta way to make her see more "cool." The scene doesn't even make plot sense, because Asuka at that moment is not even depressed, and in the original anime this occurs at a much later time under a very different context.
and speaking of asuka...
SOMEONE CALLED ASUKA:
When I started watching these movies, I was afraid that Asuka's character had undergone modifications to make her more "palatable" to new audiences. What took me completely by surprise was how radically different this Asuka is from the original. So different that they can't even be considered the same character. To show it very clearly, we are going to review the personality of both:
Asuka from the original anime: An energetic and outgoing half-German, half-Japanese girl (actually it's 1/4, but who cares) who loves to be the center of attention and have everyone praise her due to the lack of parental love received during her childhood having been abandoned by her father and supplanted by her mother, who suffered from severe mental disorders. She is extremely proud and competitive because she feels that being Eva's pilot is the only thing that gives her an identity and purpose, which makes her tend to become quickly frustrated when things don't go her way and become defensive when she feels like she is being outmaneuvered. . He loves to make fun of others (especially Shinji), to the point of being cruel at times, but he does not do it out of malice, but rather to compensate for his enormous inferiority complex due to the rejection suffered by his mother and having witnessed her. committed suicide (and possibly even tried to kill her) the day she was chosen as Eva's pilot and came running to wish her a Happy Thursday. She admires Kaji and wants to fuck him because she hates her own adolescence, she needs to feel adult and independent due to suffering from a certain Electra complex for having lacked a true father figure during her childhood. She has a sweet and vulnerable nature, but she rarely expresses it to anyone except her best friend Hikari and I better stop this now because too much text.
Rebuild Asuka (hereinafter "Asuka"): A girl soldier created by Nerv as part of a series of clones who has always been alone and thinks she doesn't need anyone, although she secretly wishes to have a family. She hits and insults others for no reason, she yells a lot, never smiles or makes jokes, and hates socializing with others, which doesn't stop her from looking for Shinji's dick within 2 days of meeting him. She always plays video games while someone is talking to her and at night she talks to herself with a doll like an autistic person.
As we can see, these two characters not only look nothing alike: several of their traits directly contradict each other. Because they look alike, they are not even alike in aesthetics: the original Asuka had red hair and dressed in the traditional feminine way, while "Asuka" is light brown and dresses in a tomboy style (which I'm not saying is wrong, I'm just commenting to show the radical difference). It's not that they have changed Asuka: it's that they have directly murdered her to supplant her by someone with whom she only shares her first name (not even her last name). And needless to say, the change has been VERY for the worse.
To describe the first character, I had to spend 15 damn lines, and even then I had to leave out many important facets of his personality, his development in the original series and his entire character arc in EoE, because if I didn't have one endless bible For the second, 6 lines were enough for me, and I could have had more left over if I had been more concise. The first character is a complex and three-dimensional character, with multiple facets, edges and layers. She feels like a real person. The second character is a generic tsundere that you can find in any mecha anime of the week. She is not even comparable to the first; She's not even a good character.
We cannot speak of Flanderization because not even the most basic traits of the character have been respected. Nor can we speak of a deconstruction because that same absence of basic traits means that there is no character construction on which to stand in the first place. Obviously, this change greatly resents the interactions between characters: the original Asuka was a charismatic and fun character with the ability to drive the plot on her own (as soon as she appears in chapter 8 of the original anime she is already changing the entire dynamic between characters) , while "Asuka" is mostly only in the background or to fight; He doesn't even have a character arc as such. In fact, in 2.22 he has even less screen time than several supporting characters.
His chemistry with Shinji is also non-existent (and I'm not just referring to the romantic level) and they barely have any development together. They like each other here because... ehhhh... she likes how he cooks and he thinks she's hot? It's not that the AsuShinji (or ShinSuka, or whatever the hell it's called) here is forced: it's just that it doesn't even make sense. The only reason people still ship them together is because they did it in the 90s. Yūko Miyamura's performance also feels very lackadaisical and lacks passion, which is quite unlike her. Although perhaps this is intentional, since her character always talks as if she has the spear of Longinus permanently stuck up her rectum. In fact, the few times she says her iconic "Anta baka?" This one feels very forced, in addition to not having her characteristic high-pitched tone.
In short, the character has suffered the same fetishization as Rei (gamer girl, tomboy, one-eyed, etc.), but also with the aggravating factor that not even her basic characteristics have been respected here. This is especially disconcerting when we take into account that the rest of the characters have their original personalities more or less intact (albeit simplified). Even more disconcerting if we take into account that Asuka is possibly the most popular character in all of Evangelion, and even more so if we consider that she is Anno's favorite character (in fact, the initial idea was for Asuka to be the protagonist).
https://evaresources.wordpress.com/der-mond/
Given this, the inevitable question arises: "Why?" What was the point of turning Asuka into an inferior and tsundere copy of Rei, even more so when there are already three clones? It has always been rumored that Asuka is not popular in Japan, but that is completely false. The only semi-rational explanation I can think of is that they did it to please the haters. It's no secret that a portion within the Evangelion fandom (and outside of it) hates Asuka with a passion. They see her as someone toxic and cruel who dedicates herself to screwing others for no reason, without understanding that you don't have to like a well-written character.
https://imgur.com/a/KznXE1x
What these people fail to understand is that Asuka's verbal abuse is a defense mechanism to avoid opening up to others, since Asuka constantly says things that do not fit with what she really feels or thinks (clear proof is chapter 16 from the original series). It's not like it matters much, considering they were never more than an extremely vocal minority. That the character is so popular is proof of this. The great irony of all this is that the new "Asuka" is a much more unpleasant and detestable character than the original, since she lacks the redeemable qualities of the original and her moments of comic relief.
And if until now I have been more or less benevolent with this remake, this is something I cannot forgive: because changing a character just because a group of people doesn't like it is one of the most cowardly and pathetic acts in the world. that a writer can fall. The fact that this was also at the expense of one of the best female characters in the history of anime and with a wonderful story arc makes it even more bloody. Any other halfway competent writer would have responded with this.
https://youtu.be/5Js0ea6yPKM
...although if we go by Ockham's razor, the most likely explanation is simply that Hideaki Anno is mentally retarded.
A CHARACTER TO DESTROY A FRANCHISE AND BIND IT TO DARKNESS:
Mari Makinami Illustrious A.K.A María Iskariote (what an appropriate last name) is one of the worst creations ever made by humans. Not since the atomic bombs has humanity created something so horrible. Worse than the holocaust. Worse than fascism. Worse than Facebook memes. Worse than stepping on a lego. I would even dare to say that it is worse than pizza with pineapple. No character better reflects Anno's mental decline or better embodies all the problems of the current anime industry than this trash.
This character contributes absolutely nothing to the plot, he does not contribute at any time to its advancement, he lacks his own development or story, he does absolutely nothing relevant in the 3 films in which he appears, and he does not even have a defined personality. So much so, that all of her scenes could be eliminated or replaced by any other character and she would barely affect the plot, or not affect it at all.
The character is so frighteningly one-dimensional that she doesn't even show different emotions or moods during the three films in which she appears, always being perpetually happy and carefree even in tense situations for literally no reason. This leads to moments as surreal as her starting to sing and hum in scenes that are intended to be serious or dramatic (or so I think; perhaps what they wanted was to turn this into an unintentional comedy), again generating a gigantic narrative dissonance. The last third of 3.33 is the best example of this.
But that's not the worst: this character is clearly made for otaku coomers to masturbate to. She has almost every fetish possible: glasses/lenses (whatever they call it in your country), pigtails, miniskirt, schoolgirl, saying "nya", big tits, obsession with smell and tight outfits, etc. To make matters worse in 3.0 + 1.01 we discover that she is 48 years old, so we can also add the milf fetish. Evidently, her tits always bounce in her plugsuit (she would swear that never happened in the original series) and there are many close-ups of her ass. In addition to constantly making sexual advances towards Shinji, which also turns this piece of shit into a potential pedophile.
If the thing simply ended there, we could say that this character remains a mere annoying and unnecessary secondary character. Unfortunately, the character is also disruptive to the plot, occupying long filler scenes that do nothing more than waste time that is already scarce in a film, and that could have been used on something else more interesting; like Pen Pen watching TV, Pen Pen eating a sardine, etc. Without going any further, both 2.22, 3.33 and 3.0+1.01 begin with a long filler scene of her hitting on her. Well, to be honest, the 3.33 one is more Asuka, but this abortion is still out there fucking and singing.
It would not be an exaggeration to say that discussing why this character exists is much more interesting than any other debate that can be created about these films. I still think about it. However, the ending of 3.0+1.01 gives a good clue: the character was created solely and exclusively to stay with Shinji. I can only imagine that Anno made this tired of the fandom shipping and the arguments over who Shinji should stay with, so he decided to end the matter by creating his own ideal waifu with all the fetishes he likes in a woman to end it. with this. It's disgusting, but considering we're talking about a Japanese, totally possible.
It's surreal coming from the man who harshly criticized the use of anime as escapism and the excessive female objectification and sexualization in it, but it's the only semi-decent explanation I can think of. Basically, he is what is called a mascot character in literature. That would explain why this character never shows doubts, nor any kind of internal conflict, or why he is a better Eva pilot than Asuka and Rei themselves. It is also very revealing about the quality of the Rebuilds: creating a self-insert OC just to be the partner of the protagonist or another main character is the quintessential trait of all bad fanfiction.
However, among all this tsunami of disqualifications, I also have to say something positive: spending three movies giving hope to the shippers only to have Shinji be cuckolded simultaneously by Rei and Asuka in the last one and end up with a character with which had zero development (before 3.0+1.01 I didn't even know its name) is a true trolling masterclass, worthy of the best of ball pumpers. Only a true emperor of evil would have come up with such a twisted and at the same time perfect way to screw over a large part of the fandom. I give you my tens, Anno.
THE ANTI-UNIVERSE OF ANTI-NARRATIVE:
Of all the new concepts that Anno brings up at the last minute from the place named after his last name, none stands out more than the "anti-universe." Or, as I like to call it, the "anti-good writing." Basically because it perfectly represents all the problems of the rebuilds and their script. In the final stretch of 3.0+1.01 we have the last-minute revelation of a quantum plane of existence capable of turning imagined worlds into reality and changing this through Lilith, which cannot be understood by the human mind (wow, WHAT CONVENIENT!) and whose existence has never been mentioned or even hinted at in the entire franchise until CONCIDENTLY the aforementioned last third of the film.
In other words, a gigantic Deus Ex Machina created in an improvised way to avoid repeating End of Evangelion and forcing a happy ending where Shinji creates an ideal universe for each character (although that is questionable, as we will see later). And it is far from being the only one: the spear of Cassius, the Eva of Infinity, the key of Nebuchadnezzar, the Book of Life, and so on. None of these concepts are integrated into the plot in an organic and natural way, but rather they arise spontaneously at its convenience when it needs it. Except for the new "Super Berserker Mode" of the Evas, which is simply a power-up to sell figurines.
As I said before, if at least this were an alternate universe separate from the original anime, all this bombardment of concepts pulled out of the ass would be a little better justified. But the revelation that everything is a cycle and we are in the same universe as the original work only makes it even worse, generating countless inconsistencies about why they never mentioned this or never used that (what's the point of the seeds of life If you can create universes simply by imagining them?). Although without a doubt, the worst of all these new concepts is "the curse of Eve."
Here we have a new concept with very strong repercussions completely launched, which is not even an explanation in itself, it does not answer anything and to make matters worse, the same films contradict each other several times. Needless to say, this is a cheap excuse for the three main characters not to grow up and continue sexualizing 14-year-old girls after the most gratuitous timeskip ever seen. And speaking of timeskip, putting such a long one in the middle of the story is a first-time writing error. If you are writers, never do that: the bigger the time jump, the more things you will be forced to explain, since the less you do it, the more plot holes will form as a result.
And of course, here it explains little to nothing of what happened these 14 years. Like where Nerv got such a tremendous base from, if in 3.33 it seemed that together with Rei and Kaworu it was made up of four people. Or how they have gotten such an army of pseudo-Evas, especially when these are supposed to be extremely expensive (wow, and SEELE with all her unlimited resources was barely 9 in EoE). Or worse yet, how Kaji managed to stop Almost Third Impact (seriously, the name couldn't be stupider). None of these questions are answered at any time. Obviously because they can't do it.
Evangelion has always been characterized by leaving things up to the public's interpretation, but here I feel that they are vilely taking advantage of it so as not to have to give any kind of explanations. And in the case at hand, do not even pay attention to contradictions. Like Touji and Kensuke got on Unit 01 and that doesn't stop them from being 28 after the timeskip. Or that Mari appears to be 14 despite looking like an adult in Gendo's photos and flashbacks, plus the fact that Evas, by simple logic, could not exist back then.
The height of absurdity is when near the end of 3.0+1.01 the "unexpected" revelation occurs (actually we all saw it coming) that everything is a cycle and we are facing a reboot of the original timeline, of which only Kaworu seems to be conscious. He let them guess without giving them any clues how many times Kaworu mentioned or even hinted at such a thing in the original series. Needless to say, nothing is ever explained about it: Who created that cycle? (Adam? Lilith? The First Ancestral Race? Hideaki Anno's last name?) For what purpose? How does it work? How long does it last? Why is Kaworu the only one who remembers him? Do these remakes make sense?
THE DEATH OF A STYLE:
Fortress-cities folding in on themselves. Designs and constructions oscillating between the nineties, the utopian and the cyberpunk. Meshes of flesh and blood animated with the souls of the dead fighting with classical music in the background. A mysterious and ambiguous lore where aliens, technology and conspiracies mix with gnostic, cabalistic elements and the most esoteric aspects of Christianity (did the History Channel predict Evangelion?). Minimalist posters moving quickly between frames. Monochrome backgrounds flashing aggressively (bad luck if you were epileptic). So consistent with its themes that the A.T. fields themselves. They were an allegory of the hedgehog's dilemma (I'm not making this up, Kaworu himself says it in chapter 23).
https://imgur.com/a/2M0eDVK
The sum of all these factors is what allowed Evangelion to build an absolutely unique identity, the one that allowed people to say "hey, that's an Eva!". Starting in 3.33, all that is lost to disappear in 3.0+1.01 in favor of giant spaceships, mechanical mechas made of pure CGI, battles full of colored lights, multiverses and time loops. I'm not saying these elements are bad in and of themselves, but I've already seen a thousand mecha stories with these. For that, I start watching any of the versions of Gundam or Macross. I could also complain about the boring shots without audiovisual language and always using the same color palette, but to be fair, that is an endemic evil of current anime.
And like any bad remake, 3.0+1.01 can't help but pay homage to several scenes from the original work, completely failing to understand the point of said scenes. As an example, we have Ritsuko shooting Gendo for no reason other than to pay homage to End of Evangelion, ignoring that the context between both scenes is very different. Furthermore, here they never explain the relationship that exists between the two, so the scene makes no sense; especially for those who never saw the original series, who will also find mentions of facts that these films have never shown or bothered to explain.
Even worse is when they try to pay homage to the iconic battle between Asuka and the Eva Series. Not only because of the total absence of the graphic violence and choreography of the original, but because what makes that fight so remembered is its emotional component, since it is preceded by a narrative catharsis in which Asuka discovers that the Her mother's soul was always in Unit 02, in addition to being marked by the constant tension of knowing if she will be able to finish the fight before the Eva's energy supply runs out. Here the Evas never run out of energy (why do they need the power supply, then?), so there is no such tension.
In the original fight Asuka may not be shooting 1387945 Evas with a super cannon larger than her as she falls through an... interdimensional hole?; But there you feel every blow, you can appreciate every movement in detail, and the dramatic tension in crescendo only improves the result. If this were a shonen, the logical thing is that Asuka would win. After all, her character arc has been wrapped up in a climactic way. Unfortunately, this is Evangelion. When the Evas Series manage to cause a mortal wound with the pseudo-spear of Longinus and the energy counter reads zero, the outcome is already decided. What happens next is horrific (Asuka's enemies are cruel to her even after she is dead), and just as horrifying are Yūko Miyamura's screams and Miki Nagasawa's performance as Maya announcing that Asuka is dead. In the Rebuilds there are no performances anywhere near that level.
End of Evangelion will be as dark and uncomfortable to watch as you want, but it is a film where all those responsible put their souls into achieving the best possible result, both on a technical and artistic level.
and well, I think that for today I have already downloaded too much, an apology for the large amount of text, I will make a second part at another time because I have so many things to comment on... anyway, I hope you have a good day/afternoon/night or when you read this .

The subject are Schlieffen. Really thought this would be the ultimate brawling machine. But, I might get downvoted for this, have only had about 20 games in it. It might depend on playstyle. I wanted to take time to reflect some now asy is leaving us and is the only game mode I've tried it in. I want to compare it to Napoli, think it's fair, even if Napoli have less HP. Is it just me or does Napoli feel tankier? I've had a blast using her. Schlieffen feels vulnarable, get set om fire every 5 second, takes heavy damage from it, doesn't handle torps great and that freakin' german dispersion. Couldn't hurt if it was a bit better over 10k. Was told that Schlieffen is a fearsom secondary ship. Even though Napoli has 1,5km less range, her secondaries just slughter. The precision is awsome and reload time is too. Schlieffen gets more hits during a battle, it just doesn't feel it does that much damage in comparison. Head in Schlieffen takes heavy damage, while Napoli bounces much.
What are your subjective meaning? Haters probably gonna hate and I'm a f-ing noob not knowing how to play her. That might be so, but this is just my initial thoughts and experience I've done in a short time. Just wanted to check with you guys. I will still continue to use her a lot to get to know her better. FTR, I don't have Günter.

I am named after my 3rd Great Grandmother. When delving into her details I have found some quite interesting rabbit holes and I am convinced she is gifting me with information to pursue.
I found an obituary for her husband that I believe she wrote. The obituary details his leadership in the Confederate Army and ends with this:

• After the War, they (he and the Mrs. ) became members of the First Baptist Church of Atlanta in 1866. They never placed their membership elsewhere. Both of them became students of Emmanuel Swedenborg’s writings and enjoyed the wonderful spiritual and intellectual uplift which such study gives to a seeker after true religion.

Wow! If that doesn't start a few things! Baptist AND Swedenborg. I'd love to know more. I can document with a handwritten paper when they joined the church (what a treasure), and raised their children and served there until his death in 1920. She died in 1928.
She was a teacher and operated her own school for girls, preparing them for college and careers. I'd truly believe her work helped women progress and be granted the right to vote.
She wrote a short story late in her life that is fiction , but includes verifiable facts about her family growing up, and her parents being baptized by their oldest son in the river. The story talks about a rich, full life and ends (without credit), but I believe it was commonly recognized, of a poem called The Sleep by Elizabeth Barrett Browning. This poem seems to reference Psalm 127:2. He giveth his beloved sleep. Wasn't Browning a follower of Swedenborg?

A foolish man once told me that I have no potential, and so I informed him;
I do not blame a foolish man for not seeing my potential, as I do not blame a blind man for not seeing.
.
.
.
.
4th poem I have written; I am trying different styles that is why this is short.
Feedback I have left; https://www.reddit.com/OCPoetry/comments/1cs3d26/comment/l47m5up/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button
https://www.reddit.com/OCPoetry/comments/1cr3sj2/comment/l47mo9f/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

Hey there, I'll try to keep this short.
My ex and I were together for 5 years. I broke up with him in March. The reason for that was because after about 2 years of our relationship, my boyfriend simply stopped being the romantic and caring person he was in the beginning of the relationship. We wouldn't kiss (only small pecks), we wouldn't have sex (the last time we had sex was 4 years ago), he would rarely compliment me, etc. I felt bad because I never changed, I have always been very romantic, and at times I'd feel I was the only one actually trying to show love.
Yes, I did talk to him about this. Three times to be more precise, in the beginning of 2023, in the middle and in the end. He would always explain to me that unfortunately, he was not in a place mentally where he could provide me with the attention I needed, but that he loved me a lot and did not want to lose me and that he was treating that in therapy. He even told me he would understand if I left because I deserved someone that could give me what I needed, he also told me his therapist said "Your partner is being way too patient with you."
Even though I was not feeling loved, I stayed because I thought this would pass and I care so much for him, I could see he wasn't doing that on purpose. And besides those details, we have a great relationship. We never fought, I know he loves me, and I love him. It's a great connection.
However, after more than a year feeling unwanted and unloved and seeing no changes, I couldn't take it anymore. I didn't feel loved, so I decided to break up. After the breakup, my ex has immensely changed. He started writing me poems, he started complimenting me, he bought us promise rings, finally came out to his parents (yes, his parents didn't know I exist), and is promising that he has now healed in therapy and can finally give me everything he ever wanted to but couldn't.
I'm extremely confused. I don't know if this is for real, or he simply freaked out because I did the unimaginable and broke up (he never thought I would do that, he said), or if I should give him another chance.
Have any of you ever gave a person another like this chance and it worked?

Bit of a longer post, sorry bout that, but I felt it was time, perhaps once again, to point out the flaws and limitations in the CDC’s stats on sexual violence, specifically as they relate to the National Intimate Partner Sexual Violence Survey (NISVS), which is the source of all the fun stats on sexual violence that get thrown around by the 451 percenters. Who are the 451 percenters? Those the folks who believe and spread the lies bout sexual violence being endemic to society. Everyone’s a sexual predator! All 451 percent of women are violated, and all 451 percent of men are violators.
TL;DR: An analysis and rebuttal to the CDC and NISVS’s statistics on sexual violence. The CDC uses NISVS to generate the stats on punny sexual violence that make wild claims, like one third of all women, etc… the 451 percenters’ claims bout punny sexual violence. They use a ‘yes means yes’ method of determining what counts as punny sexual violence, which is aesthetics based. Elevating aesthetical concerns to ethically obligatory concerns is fascistic, and a grave moral fallacy. ‘Yes means yes’ is also puritanical, meaning it overly moralizes sexuality. Putting puritanical fascists in charge of determining how many punny sexual offenses are happening is like putting the KKK in charge of determining how many jews are sexual predators. “All 451 percent of them, obviously!”
Body Of The Post
‘Yes means yes’ is an aesthetical ethical concern, ‘Do I want it or not’. This is what the National Intimate Partner Violence Survey (NISVS) and the CDC use and reflect in their stats on sexual violence. Vibes. They are the ‘emmitt till got what he deserved’ crowd. Whistling at a lady is a criminalizable offense to these folks, a ‘punny sexual violence’.
‘No means no’ is an ethically obligatory concern, ‘Did I refuse it or not’. This is what the criminal stats on sexual violence use and reflect in their stats on sexual violence. Hard data. They are the ‘emmit till did nothing wrong’ crowd. Whistling at a lady is at most tasteless, emmitt till could do far better.
‘Wanting’ or ‘Not Wanting’ something does not consent make. I can want to fuck someone, but not consent to do so. I could not want to fuck someone, but nonetheless consent to do so. The former perhaps because I think it is a bad idea to fuck ‘em even tho I want to. The latter, perhaps because I think it is a good idea to fuck ‘em even tho I don’t want to.
The ‘yes means yes’ folks, the CDC & NISVS stats on sexual violence all mistake ‘wanting’ and ‘not wanting’ for ‘consenting’ and ‘not consenting’; these are not the same things. This is deliberate on their part too. They believe that ‘yes means yes’ is what ought to constitute a determination of sexual violence. Regardless of how y’all view that, it is a deeply controversial notion, and not necessarily reflective of what most people think of when they think of sexual violence.
‘Unwanted’ essentially means ‘I don’t like it’. It is a complaint bout the aesthetical qualities of the sexual encounter, not its consensualism. If this is at all unclear, the simplest method to understand why this is so is to note two unrelated aspects.
One is racism. People regularly ‘feel fearful’ of men for no reason at all, but they also feel fearful of men because of racism all the time. That fear factor ™ is what makes the encounter ‘coercion’ or ‘unwanted’. The person literally does nothing wrong, *just exists* and the other person freaks out.
Note in the quoted sections at the end of this post how much of the stats rely on fear and feelings to generate their numbers.
Two is the person came on too strong or in an undesirable way. The person flirts in a normal and perfectly fine way, but the other person freaks out. Think bout it people, for the love of god think bout it. ‘Coming on too strong’ and ‘an undesirable flirtation’ are being counted as ‘punny sexual violence’ in these stats.
It’s entirely puritanical, and entirely a concern bout aesthetics.
There are other sorts of coercive methods, but the point here is that the terms ‘unwanted’ and ‘coercion’ only really cash out as ‘I don’t like it for some reason or another’ in the CDC’s and NISVS’s stats.
When you see that lady spouting off bout her fears of mexican rapists, she’s reflected in these stats folks. They’re just surveys. People who lock their car doors in ‘bad neighborhoods’ are reflected in those stats.
These all translate to ‘I felt threatened’ (big black boy vibes) or ‘felt pressured’ (scary white guy vibes), or ‘felt in danger’ (native american coming to get you vibes), or ‘felt uncertain if you wanted it’ (arab terrorist vibes) or 'felt like I was being manipulated' (angry asian martial artists vibes) . Doesn’t have to be racism at play here either, women can be irrationally fearful of any man. Vibes.
The actions themselves are not criminalizable.
Non p-hacked stats try to avoid these kinds of obvious ambiguities in the language used to generate the 451 percenters’ stats. These folks however lean into the lies and deceptions, and deliberately use language designed to deceive people reading the stats into thinking that people have been harmed. They take language that means literally ‘I like or don’t like it’ and translate that to mean ‘I was sexually harassed, sexually assaulted, or even raped’.
This is how they inflate the numbers, so we get to the 451 percenters’ wacky ass beliefs; ‘451 percent of women will suffer egregious sexual violence to them at least fifty times in their lives’. All this means is vibes. 451 percent of women get some bad vibes bout some dudes.
You can hear it echoed in the bear or man discourse. Why do women choose the bear? Vibes and irrational fears. ‘We choose the bear because we don’t feel safe!’ translates directly to ‘Emmitt till whistled at me, and he’s a big black boy, that’s scary’ and ‘the mexican rapists are swarming over the border to get me’.
These are the stats that people point to when they try to justify their misandristic hot ass takes. They are self-referential to that same fear based aesthetic the stats are. The stats are reflective of peoples’ irrational fears, and people use those stats to justify their irrational fears, and people spread those fear based stats thereby spreading their unjustified fears. It’s a circle rub.
To criminalize these kinds of things is to be fascistic (treating aesthetics as if they were of obligatory concern), to believe that they are morally reprehensible is to be a puritan (overly moralizing sexuality).
The folks deriving these stats translate ‘unwanted’ (aesthetical ethics) to ‘sexual assault’, ‘sexual harassment’, or ‘rape’ (obligatory ethics), then lump everything together as ‘punny sexual violence’ to get the big numbers used to scare people and terrorize men. That’s called fascism.
“[T]here remains a likelihood of underreporting due to the sensitive nature of SV”.
This justification means that they do not trust people to report SV, ‘don’t believe women when they say they haven’t suffered any SV, manipulate the questions so they say yes to something they don’t think is SV, or which simply isn’t SV, and we’ll just call it SV of this or that sort. Later we’ll propagandize people so they too come to believe our puritanical misandristic hot ass takes.’
There is no lie nor hyperbole in what I am saying here. That is the rationale and the method. If you bone up on your academic lit in the topic, this is, well not verbatim what they say, I am lambasting them here, but this is the crux of what their argument and justifications are, and they explicitly hold that they ought be propagandizing people to their puritanical beliefs.
They push the fascistic (aesthetical ethical) and puritanical (overly moralized sexual ethics) discourse into the public by presenting stats that merely reflect fears and pretend that they are reflective of sexual violence. People then come to believe that those kinds of fear based concerns are actually sexual violence. An ‘unwanted flirtation’ becomes in their minds and only in their minds a sexual violence.
Emmitt till got lynched for whistling at a lady. They only disagree bout the racism, but he definitely deserved to be punished in some way like all men do for whistling at someone they think is hot af. Puritanism.
All just vibes, all but aesthetics, and all fascistically raised to a level of ethically obligatory concern.
“Just as SV is not limited to physically forced penetration, its perpetrators are not limited to strangers. Indeed, perpetrators of SV are more likely to be someone known to the victim. Sexual violence is a problem embedded in our society and includes unwanted acts perpetrated by persons very well known (e.g., family members, intimate partners, and friends), generally known (e.g., acquaintances), not known well or just known by sight (e.g., someone in your neighborhood, person just met) and unknown to the victim (e.g., strangers). “
Be afraid of everyone, any man out there could be your next rapist! That’s right ladies and gents, you’ve been raped several times already, you just didn’t know it. But don’t worry, the statisticians know better. They asked you an unrelated question you said yes to since you were too dumb to know that you were raped, and counted it as rape. Then they informed you that you ought be afraid of everyone in your community, lest they also rape you, unbeknownst to you of course. But again, don’t worry, the statistician will count those too.
As a measure of fear the 451 percenters capture, well or worse who knows, all the racism, sexism, bigotry, and various phobias in the society, and how those fears are transferred onto masculine bodies as imaginary perpetrators of punny sexual offenses. None of it is real, there are not 451 percent of sexual violences happening, 451 percent of men are not sexual predators, and 451 percent of women are not victims of sexual violence.
‘Safety culture’ mostly reflects irrational fears.
Ask the kkk how many black people are rapists, you’re gonna get a high number. Ask puritans how many people are punny sexual offenders, you’re going to get a very high number. Such is the most tame interpretation of what is going on. The 451 percenters are puritans, they’ve overly moralized sexuality, counting offenses to their sensibility rather than criminal actions.
Puritans informing you how ‘vile and wicked’ your sexual ways are; advocating to make their puritanical beliefs bout punny sexual offenses into legally enforceable laws. These are the same kinds of concerns bout a someone dressing too provocatively, such is a ‘punny sexual violation’ to the sensibilities of others.
The less tame version of this is that it is exactly what fascists do. Lie to people especially bout punny sexual offenses in order to ratchet up the fear levels in the population, so they run to them to solve the ‘problem’.
Could be both tho.
Either way, their misandry murders little boys. They celebrate terrorizing men, and rejoice in lynching folks. They’re despicable people.
Solutions?
Ruthlessly love them. Write them love poems, show them kindness and generosity of spirit, but give them not a dime in money, nor ever relent to their irrational fears. Extol their beauty and virtues, make love with them, utterly ruthlessly. Be overtly sexual bout it, in this give them no quarter, bring to an end their puritanism by giving them no plausible cause to be thus. No one under the duress of loves’ enticements and sexual pleasures be puritans. Be relentless, show them masculine sexuality; give them nothing to complain bout, but give them masculine sexuality. Don’t fall for their puritanism, be the boys of summer.
Respect a ‘no means no’ ethic as a code of obligatory actions. Use aesthetical ethics towards good sex with mutual respect given; don’t ever take that as a one way thing. Do not conflate the aesthetics of good sex, 'enthusiastic yeses’ with those of the ethics of obligation ‘no means no’. Don’t be puritans, don’t be fascists, be sex positivists.
Call out the stats when folks bring them up, refer people to these points, feel free to refer people to this post and/or the attached video. ‘But the CDC said’ is not a valid argument; they have put puritans in charge of determining punny sexual offenses. They find punny sexual offenses everywhere they look.
If you’re super coolio, start advocating against the CDC’s use of NISVS to determine what constitutes sexual violence. It doesn’t match with criminal data’s methods, it doesn’t utilize the metrics of ‘no means no’ which are the proper metrics to use, instead it utilizes what amounts to peculiar beliefs bout the aesthetics of sex as a means of measure for punny sexual offenses.
They are spreading a puritanical belief system bout punny sexual offenses, nothing more, and they are causing public health problems by spreading their lies. They are not counting sexual offenses, they are not a criminal justice system, they aren’t technically even in the business of understanding sexual violence. They are the Center For Disease Control, not the ‘center for social engineering sexual practices control’.
Original video on the topic, with some additional resources for understanding these issues in the description.
The Rest Of This Post Is References To The CDC, NISVS, And Crime Data Reports, Along With Some Quotes Thereof With Short Specific Retorts Highlighting The Relevant Info In The Quotes As It Pertains To The Post. This Is But A Small Sample Of How They Use Language Of Aesthetics To Make Their Ethical Claims, And How Their Language Is Misandristic.
sv_surveillance_definitionsl-2009-a.pdf (cdc.gov)
Fast Facts: Preventing Sexual Violence Violence Prevention Injury Center CDC
Key Terms & FAQs National Intimate Partner and Sexual Violence Survey (NISVS)Funded
Programs Violence Prevention Injury Center CDC
Some key quotes from this, Bolded text hereafter are coded for ‘yes means yes’ methods of understanding sexual violence, and sometimes misandristic language. Italicized text are quotes from the sources:
“Rape is defined as any completed or attempted unwanted [unwanted is an aesthetic criteria, not a consent criteria which is ‘a no was stated’ attempted while a real thing allows for further insertion of scary vibes to pad the stats, e.g. the blackness of the lover] ...includes times when the victim was drunk, high*, drugged, or passed out and unable to consent.* [puritanical belief bout drinking and drugs, e.g. one cannot consent if drunk or high. Note that it is separate from being drugged or passed out and unable to consent, and that criminally speaking being drunk or high is not indicative of a lack of capacity to consent, also note this is de facto applied to women only].
“Sexual coercion is defined as unwanted sexual penetration that occurs after a person is pressured in a nonphysical way. In NISVS, sexual coercion refers to unwanted vaginal, oral, or anal sex after being pressured in ways that include being worn down by someone who repeatedly asked for sex or showed they were unhappy; feeling pressured by being lied to, being told promises that were untrue, having someone threaten to end a relationship or spread rumors; and sexual pressure due to someone using their influence or authority.”
Unwanted is an aesthetic category, not a consent category. ‘Sexual coercion’ is not a criminal offense either. It is a puritanical belief bout sexuality that is based on a sex negative view, e.g. that sex is a bad unless and until magical words are said to make it into a good. Calling it ‘sexual violence’ is just lying. Coercion is defined misandristically to only be bout penetration, which precludes all the ways that women use sex and sexuality to manipulate, use, abuse, and harm people; note that there are essentially zero surveys done that include some ‘feminine coded coercive behavior’ into these stats. That is by design. Including not incidentally the way that women have historically and currently used irrational fears over their sexuality to terrorize men and get people murdered.
“Unwanted sexual contact is defined as unwanted sexual experiences involving touch but not sexual penetration, such as being kissed in a sexual way, or having sexual body parts fondled, groped, or grabbed.”
Unwanted is aesthetics, not consent. Also this literally describes flirting. I know they want to try and capture some other sort of notion, grossy mcgrosser pinning someone down and groping them, but all this describes here, and all the stats can possibly reflect, is flirting.
“Non-contact unwanted sexual experiences is defined as those unwanted experiences that do not involve any touching or penetration, including someone exposing their sexual body parts, flashing, or masturbating in front of the victim, someone making a victim show his or her body parts, someone making a victim look at or participate in sexual photos or movies*, or* someone harassing the victim in a public place in a way that made the victim feel unsafe.”
This category is quite broad and puritanical in its disposition, as it assumes there is something wrong with seeing naked images unless and until expressed verbal consent is given, and undoubtedly ignores the en masse flood of naked images of women online to which basically every guy is exposed to. Compare again to people who claim that women ought not be allowed to show their ankles as it causes a ‘harm’ to those who are ‘forced’ to see it. Exact same shite. Aesthetical concerns of wanted or unwantedness, and also notice the expressly stated vibes check ‘victim feel unsafe’. Look out for the black boys, they make them feel unsafe!
Crime/Law Enforcement Stats (UCR Program) — FBI
Quick Facts on Sexual Abuse Offenses (ussc.gov)
It’s worth mentioning that statistically speaking, if one uses the stats derived from crime data as opposed to statisticians making numbers up, the percentages of men who do sexual violence, depending a bit on how you count it, are: 0.0516% or .478% or .0957%. Although the video goes over this all in pretty good depth, just do a little sniff test here; are .478% of the male population sexually violating a third of all women, 55.5 million women?

So throughout my life I have talked to myself and I'm not talking about just saying things out loud but having full on conversations with myself doing both sides of the conversation, it started when I was very young maybe 6 I would play with my Legos and come up with elaborate stories about a group of spacemen that lived on a laser battleship and roamed the cosmos with their fantastic fade through technology that allowed their ship to pass through solid matter by phasing matter out of synch with the various subspace fields. They battled a race of machines that existed in another reality that wanted to gain access to the space men's reality through means of a trans dimensional gateway that would allow them to flow into the universe unchecked like a swarm of locusts. Thus the mission of the spacemen was to find these gates and destroy them or dismantle them and use the technology in other means. The spacemen had also reprogrammed some of the machines and had them on their pirate crew as servitors. These machines still retained their memories as part of the swarm they came from and understood what the goal of the machines was, some of them were very heroic and sacrificed themselves to save the crew. This crew was led by a brave commander named Mechanic and he was a just and noble person who valued the lives of his crew above all else. They went on many adventures and through it all I acted out their parts fulfilling whatever dialogue was needed. This behavior did not stop when I stopped playing with Legos but continued to evolve into an ever expanding elaborate mythos regarding gods and various beings that existed as either: finite, trans-finite, infinite, or trans-infinite. Each level was more fantastic than the other as far as its scope of influence across reality. I came to talk to myself and focused on various questions in particular one question manifested early in my life. If you could destroy the world, would you? I wrestled with this question for much of my adolescence while many ofy peers concerned themselves with various sports. I took took up sports, hockey and I wonder how many of those hits and impacts left their mark. As is in my childhood I had displayed many symptoms of autism that went along with that neurotypicality: I banged my head into walls repeatedly, I liked to turn around and around in circles, and I was very socially aloof.
As I grew older my relationship to myself changed and I became convinced of the idea that I had lived the life I was living now multiple times, and that this was merely the most recent iteration. When I tried explaining this to other people they didn't quite understand, that the events that were happening in my life while not necessarily unique only to this life were not something that I felt I was doing for the first time, not deja vu, but a feeling that I was playing out the same track on a record that had already been laid down once before. I continued to talk to myself and a new manifestation of this affect began to take shape. Now instead of talking to myself I began to believe that I was talking to an older version of myself one that had already experienced what I had experienced and tried to offer feedback on how to handle things in my life. This presence was not a tormentor, but a benefactor trying its best to guide and help me along my way and offering insights into my relationships and giving guidance when needed. I could always ask him questions but he was always guarded with his responses, sometimes answering with a question of his own. I came to depend on this presence in my life as someone I could talk to about anything, he knew all my secrets and he understood who I was, often better than I did myself. He encouraged me to write down my ideas and thoughts throughout my life. One of my oldest writings that still survives to this day is a poem that I wrote when I was 13. It is not all in English and at the time I had not studied German, but later in life I learned many of the words like Ahr and Vasharn were proto-germanic words. The meaning of the poem eluded me for years it was as if I had not been the one to write it at all and yet it stuck with me, I would often recite it to myself as if it were a form of meditation.
I did not stop my conversations with myself but in my 30's I began experimenting with recreational drugs and sought out psychedelics, particularly the high prize for me would be partaking of LSD, which I finally did at the age of 31. It was an eye-opening experience as I consumed a tab every 12 hours for 3 days until finally it reached a mad fever pitch that resulted in my first true psychotic break with reality. That experience landed me in the medical tent at the festival I was at with a trazodone flush. This would not be my last experience with acid and each one was steadily more derailing to my life. I did not go out of my way to make it a regular experience but rather was like a sacrament that I partook of to see more than I was seeing at the time. My final experience with it landed me in the psych ward for a week, this would also not be my last time in the psych ward, but it was the last time that I partook of LSD and have not used it since 2017.
My conversations with myself and occasionally even conversations with what I conceived of as gods each with their own name and symbol associated with them continued to occupy my mind. In my 20's I began making "anchors" points in time where I focused my thoughts on a particular moment, if I could tie it to a physical object like a tree or a building even better, the older the better. These anchors became sources of meditation for me when I wanted to contemplate something I would attempt to connect back to these moments in time to convoke whatever I was attempting at the time. In a way it became my form of prayer in my elaborate mythos with its dozens of gods and beings that I kept in my mind and wrote about. However my 40's were a radical departure from what had been up until that point a form of meditation.
In my 30's I had begun to transmute the question that had occupied my adolescence into one of watching for Armageddon, not necessarily the biblical one, but as I put it I kept one eye on apocalypse. This actually started when I learned of the Mayan calendar, its mythos was fascinating to me as was their prognostications regarding the end of the world in 2012. And so I became a watcher, not obsessed, but diligent in my search to understand the threats that might jeopardize my existence and things that one should be wary of. Viruses in particular caught my attention and each outbreak of any note was something I carefully watched and waited to see if pandemic would follow. In November of 2019 I began doing the calculations based on the daily numbers of the novel Corona virus that had begun spreading in East Asia, by December I was telling my coworkers to prepare for a pandemic. Only one person really believed me. Still I kept my eye on apocalypse and while viruses were worrisome a new anxiety began to plague me, climate change.
I found climate change to be fascinating and watched as ecosystems suffered and began telling people about as far back as my late 20's but it never really reached the fever pitch that it did until I was in my 40's and then my affect began to take on a whole new manifestation.
I began to have conversations with myself but now playtime was over, the experiment as I came to understand it had entered its next phase. You see reality is complicated and different worlds are trying to communicate to us because we are them, just a different reality or a different time as I would learn. The goal of this experiment is to send a singular message and in order for that message to be understood there needs to be a mind capable of understanding what that message is. Not everyone has the mental capacity to understand the science involved in the message so the realities have to take what they are given and use the experiences they can to insert parts of the message into the past so that it shapes the future all so that one person at the very least can understand the message in its entirety and progress the civilization to the next level of existence and avoid calamity due to reckless human behavior. This group of beings is not evil, they realize that the most valuable commodity in the universe is information next to time and as such do everything in their power to raise up a technology capable species to create more minds capable of solving problems that they themselves could not solve. To this end they pair minds using technology to send signals to those who can receive them, not everyone has the right neural architecture to allow for a signal lock and sometimes the signal fries the brain of the recipient due to a neural fault that results in the unit burning out and short-circuiting.
But the message is simple and easy to understand
Global loss of glaciation will result in mass volcanism.

Hello class 12 humanities students! I just received my class 12 results, and am sharing my study pattern, tips and tricks, and guide to score 90+ in your domains. (Eng/Pol/socio/Econ/Legal) Jitna jaldi shuru karoge, it’s better. Believe me!
For context, my aggregate scores were 95% I have a full in polsci as well!
I’ll go subject wise. Lmk if y’all need any other help!
Anyone who wants extra question papers, or material, can dm me :)
SOME COMMON POINTS
-> Questions get repeated more often than u notice in humanities. The answers expected from u oscillate around a select few topics. They alter the wording and present the questions.
-> NEVER FOLLOW GUIDEBOOKS BLINDLY. They have multiple discrepancies, and can misguide you
-> KV notes (especially the ones by Ranchi and Chandigarh), Edudel, and jawahar navodya vidyalaya notes are top notch. Do refer to them.
-> NCERT is your holy grail, even for economics. Read it very very well.
-> 5-6 markers ke lie always make mind maps after your answersin your core subjects.
-> Never write para style for theory subjects. Make crisp and clear points acc to the marks of the question.
-> Language mein para answers always.
-> questions at the end of the chapters are v important. Never miss them.
-> you should practice papers in real test like conditions to ensure getting used to the pattern and the environment.
—————————————————————————————————————————————————————————————————————————————————————
::English::
Never, I repeat, never take English lightly. My marks were cut in English purely because I made the mistake of taking lit. section, especially Vistas lightly.
The best way to study English Lit. is to make short notes of each chapter, and they should have: - Keywords, poetic devices

 - Theme - Character Sketches (keypoints) - A self prepared outline of the story/poem. This should have some important lines from the text that u quote, and some quotes from outside that are related to the main idea of the story/poem. U can also prepare model answers. 

-> REVISE THESE NOTES ON A REGULAR BASIS.
-> Remake and re-remake them on rough sheets before exams. This helps retain more.
Clarify the updated writing section formats with your teachers before your mid-terms. Try making model answers for each chapter. For reading comp., I believe understanding the format of the current year is what u need.
TOP RESOURCES:

1. KV notes (Ranchi is the best), edudel https://drive.google.com/file/d/1xpuBvLfZvoKTvfHN0JR4sjcTgk1FsQ6Y/view

https://edustud.nic.in/edu/SupportMaterial202324/12/12_english_eng_sm_2024.pdf

1. Shipra Mishra’s YouTube videos

—————————————————————————————————————————————————————————————————————————————————————
::Political Science::
This subject is very interesting! 12th pol is fun and easy.
****start with world pol

 -> For end of bipolarity, read Cold War era first. It creates a good base, plus helps u a lot if you’re prepping for cuet! -> mind maps!!!! Always make mind maps. It helps a lot. -> globalisation, environment, security ko lightly mat lena. Very scoring but can also drop your marks if you don’t prep them well. 

**** indian pol

 -> chronological order mein jaana here is better. Maybe club chapter 2 and 5. -> indian pol is much easier. Make detailed notes for indian pol. 

NEVER TRUST POL GUIDE BOOKS!
*maps and cartoons are important. Maps of Indian pol and cartoons of both. Mere paas pdfs hai of all the cartoons and maps if y’all need em*
BEST RESOURCES:

1. KV notes, edudel notes https://drive.google.com/file/d/1EvoVIwVKVNZUIllRAT0XhTGpihHMCX08/view

https://edustud.nic.in/edu/SupportMaterial202324/12/12_polscience_eng_sm_2024.pdf
2.Human at Ease. Poorva ma’am’s classes are the best for sure!!

1. Notes banao, ya phir make questions out of each topic and create answers and use as notes, or do both.
2. PYQS (last 13 years)

————————————————————————————————————————————————————————————————————————————————————
::Economics::
Economics mein IED is very simple, but macro (esp numericals) can baffle you.

1. IED
   

   -> Trust NCERT blindly for sure, but sandeep Garg notes are good for memorising points wise. -> Make short notes. 

2. Macro
   

   -> Sandeep Garg se numericals karna is much simpler. Formulas are crisp, and they have plenty of additional questions at the back. -> I’d say it’s better to do theory from NCERT. -> theory ke short notes banao, point wise. -> for numericals, practice them regularly, especially if you suck at mathematical things. 

BEST RESOURCES:

1. Rajat Arora
2. Sunil Panda
3. KV notes, edudel https://edustud.nic.in/edu/SupportMaterial202324/12/12_economics_eng_sm_2024.pdf

https://drive.google.com/file/d/1ZQTmaXYN8otZeUa07MMb-cyVwlVEqhFc/view?usp=sharing

1. PYQS (last 15 years)

—————————————————————————————————————————————————————————————————————————————————————
::Sociology::
Very interesting, but can get confusing if your 11th concepts aren’t clear.
Again, don’t use help books, I beg of you guys. Apne notes banao, and do PYQS.
Notes banao detailed Format questions and answers NCERT is your holy grail, I repeat, your holy grail.
BEST RESOURCES:

1. Human-at-Ease Edudel notes https://edustud.nic.in/edu/SupportMaterial202324/12/12_sociology_eng_sm_2024.pdf Throughly do ncert PYQS ( last 13 years )

—————————————————————————————————————————————————————————————————————————————————————
::Legal Studies::
Possibly the most unpredictable subject of humanities, that is open to a plethora of interpretations. You need a lot of time to understand the pattern, as well as the textbook. It is very text heavy, with a lot of terms and articles and sections.
I can’t emphasise enough on the importance of being thorough with NCERT.
Make detailed notes, and reread them on regular intervals. Arihant is a good reference book (possibly the only one out there), but that too has errors. There is legit no good yt channel for legal.
TOP RESOURCES:
PYQs: read the answer keys very very well. It helps a lot, trust me. ( last 8 years) Arihant: but always cross check the answers from pyqs and the book. Notes are good.
**** I can share notes if y’all want as well. ****
A chapter-wise guide of sorts (cuz legal ka material nahi hai zyada)
Judiciary: A long and exhausting chapter. For preserving your own sanity, divide it into three parts: -> Page 3-14

 -> Page 15-21 (right before judicial review) -> Page 22- 26 (I advise reading supplementary material as well. It helps understand the cases better + is good for case based questions) 

*do them separately, otw pagal ho jaoge)*
ADR: seems long, but is a rather simple and straight forward chapter. -> make a comparative table of Arbitration, mediation and conciliation, along with mind maps of each topic.
4 business laws: very simple and scoring. 20 marks guaranteed if you do them well. -> understand the cases given very well. They are always used for the case based questions. Any topics that mention steps of any sort, or a doctrine are vv important.

 -> mind maps ; differentiation tables are vv important here. 

Law and sdg: simple hai boht. ->Just read the book and make basic notes.
Legal Entities: again, v simple. -> make a table for diff b/w ops and sole proprietorship ; public and pvt company ; partnership and lap.
Criminal Law -> objectives of cl is v imp.

 -> ipc, cps and iea ache se clearly samjho. There should be no confusion, nahi to phase jaoge. -> confession v/s admission is imp. -> cases ache se samjho pls 

Human Rights: v difficult to remember. If you can rote learn, then nothing like it. Many case questions from here as well. ->best bet: sticky notes pe pointers banao and stick them above your table. Roz thoda padho.

 -> some things I found v imp: article 14 (equality principle) ; article 19 (reasonable restrictions) ; Article 20 (section 377 chronology) ; Article 21A - DPSP to fundamental right ; arrest v/s detention ; DPSP ( 5 features, 5 dpsps) ; Fundamental duties (5) 

Quasi judicial bodies: v simple -> functions and features pata hona chahiye
Intl Law Divide into 2 parts and do separately:

 -> Page 163- 172 (right above intl human rights) -> page 172 ( intl human rights) to 178 

Legal Professions Again, divide into 2 parts:

 -> page 183-189 ( legal ed in india) -> pages 189 ( usa) to 193. (This is a lot to retain thus I recommend doing this alag se) 

Legal Services: Simple hai sabse zyada!

 ->make good notes 

—————————————————————————————————————————————————————————————————————————————————————

Hello class 12 humanities students! I just received my class 12 results, and am sharing my study pattern, tips and tricks, and guide to score 90+ in your domains. (Eng/Pol/socio/Econ/Legal) Jitna jaldi shuru karoge, it’s better. Believe me!
For context, my aggregate scores were 95% I have a full in polsci as well!
I’ll go subject wise. Lmk if y’all need any other help!
Anyone who wants extra question papers, or material, can dm me :)
SOME COMMON POINTS
-> Questions get repeated more often than u notice in humanities. The answers expected from u oscillate around a select few topics. They alter the wording and present the questions.
-> NEVER FOLLOW GUIDEBOOKS BLINDLY. They have multiple discrepancies, and can misguide you
-> KV notes (especially the ones by Ranchi and Chandigarh), Edudel, and jawahar navodya vidyalaya notes are top notch. Do refer to them.
-> NCERT is your holy grail, even for economics. Read it very very well.
-> 5-6 markers ke lie always make mind maps after your answersin your core subjects.
-> Never write para style for theory subjects. Make crisp and clear points acc to the marks of the question.
-> Language mein para answers always.
-> questions at the end of the chapters are v important. Never miss them.
-> you should practice papers in real test like conditions to ensure getting used to the pattern and the environment.
—————————————————————————————————————————————————————————————————————————————————————
::English::
Never, I repeat, never take English lightly. My marks were cut in English purely because I made the mistake of taking lit. section, especially Vistas lightly.
The best way to study English Lit. is to make short notes of each chapter, and they should have: - Keywords, poetic devices

 - Theme - Character Sketches (keypoints) - A self prepared outline of the story/poem. This should have some important lines from the text that u quote, and some quotes from outside that are related to the main idea of the story/poem. U can also prepare model answers. 

-> REVISE THESE NOTES ON A REGULAR BASIS.
-> Remake and re-remake them on rough sheets before exams. This helps retain more.
Clarify the updated writing section formats with your teachers before your mid-terms. Try making model answers for each chapter. For reading comp., I believe understanding the format of the current year is what u need.
TOP RESOURCES:

1. KV notes (Ranchi is the best), edudel https://drive.google.com/file/d/1xpuBvLfZvoKTvfHN0JR4sjcTgk1FsQ6Y/view

https://edustud.nic.in/edu/SupportMaterial202324/12/12_english_eng_sm_2024.pdf

1. Shipra Mishra’s YouTube videos

—————————————————————————————————————————————————————————————————————————————————————
::Political Science::
This subject is very interesting! 12th pol is fun and easy.
****start with world pol

 -> For end of bipolarity, read Cold War era first. It creates a good base, plus helps u a lot if you’re prepping for cuet! -> mind maps!!!! Always make mind maps. It helps a lot. -> globalisation, environment, security ko lightly mat lena. Very scoring but can also drop your marks if you don’t prep them well. 

**** indian pol

 -> chronological order mein jaana here is better. Maybe club chapter 2 and 5. -> indian pol is much easier. Make detailed notes for indian pol. 

NEVER TRUST POL GUIDE BOOKS!
*maps and cartoons are important. Maps of Indian pol and cartoons of both. Mere paas pdfs hai of all the cartoons and maps if y’all need em*
BEST RESOURCES:

1. KV notes, edudel notes https://drive.google.com/file/d/1EvoVIwVKVNZUIllRAT0XhTGpihHMCX08/view

https://edustud.nic.in/edu/SupportMaterial202324/12/12_polscience_eng_sm_2024.pdf
2.Human at Ease. Poorva ma’am’s classes are the best for sure!!

1. Notes banao, ya phir make questions out of each topic and create answers and use as notes, or do both.
2. PYQS (last 13 years)

————————————————————————————————————————————————————————————————————————————————————
::Economics::
Economics mein IED is very simple, but macro (esp numericals) can baffle you.

1. IED
   

   -> Trust NCERT blindly for sure, but sandeep Garg notes are good for memorising points wise. -> Make short notes. 

2. Macro
   

   -> Sandeep Garg se numericals karna is much simpler. Formulas are crisp, and they have plenty of additional questions at the back. -> I’d say it’s better to do theory from NCERT. -> theory ke short notes banao, point wise. -> for numericals, practice them regularly, especially if you suck at mathematical things. 

BEST RESOURCES:

1. Rajat Arora
2. Sunil Panda
3. KV notes, edudel https://edustud.nic.in/edu/SupportMaterial202324/12/12_economics_eng_sm_2024.pdf

https://drive.google.com/file/d/1ZQTmaXYN8otZeUa07MMb-cyVwlVEqhFc/view?usp=sharing

1. PYQS (last 15 years)

—————————————————————————————————————————————————————————————————————————————————————
::Sociology::
Very interesting, but can get confusing if your 11th concepts aren’t clear.
Again, don’t use help books, I beg of you guys. Apne notes banao, and do PYQS.
Notes banao detailed Format questions and answers NCERT is your holy grail, I repeat, your holy grail.
BEST RESOURCES:

1. Human-at-Ease Edudel notes https://edustud.nic.in/edu/SupportMaterial202324/12/12_sociology_eng_sm_2024.pdf Throughly do ncert PYQS ( last 13 years )

—————————————————————————————————————————————————————————————————————————————————————
::Legal Studies::
Possibly the most unpredictable subject of humanities, that is open to a plethora of interpretations. You need a lot of time to understand the pattern, as well as the textbook. It is very text heavy, with a lot of terms and articles and sections.
I can’t emphasise enough on the importance of being thorough with NCERT.
Make detailed notes, and reread them on regular intervals. Arihant is a good reference book (possibly the only one out there), but that too has errors. There is legit no good yt channel for legal.
TOP RESOURCES:
PYQs: read the answer keys very very well. It helps a lot, trust me. ( last 8 years) Arihant: but always cross check the answers from pyqs and the book. Notes are good.
**** I can share notes if y’all want as well. ****
A chapter-wise guide of sorts (cuz legal ka material nahi hai zyada)
Judiciary: A long and exhausting chapter. For preserving your own sanity, divide it into three parts: -> Page 3-14

 -> Page 15-21 (right before judicial review) -> Page 22- 26 (I advise reading supplementary material as well. It helps understand the cases better + is good for case based questions) 

*do them separately, otw pagal ho jaoge)*
ADR: seems long, but is a rather simple and straight forward chapter. -> make a comparative table of Arbitration, mediation and conciliation, along with mind maps of each topic.
4 business laws: very simple and scoring. 20 marks guaranteed if you do them well. -> understand the cases given very well. They are always used for the case based questions. Any topics that mention steps of any sort, or a doctrine are vv important.

 -> mind maps ; differentiation tables are vv important here. 

Law and sdg: simple hai boht. ->Just read the book and make basic notes.
Legal Entities: again, v simple. -> make a table for diff b/w ops and sole proprietorship ; public and pvt company ; partnership and lap.
Criminal Law -> objectives of cl is v imp.

 -> ipc, cps and iea ache se clearly samjho. There should be no confusion, nahi to phase jaoge. -> confession v/s admission is imp. -> cases ache se samjho pls 

Human Rights: v difficult to remember. If you can rote learn, then nothing like it. Many case questions from here as well. ->best bet: sticky notes pe pointers banao and stick them above your table. Roz thoda padho.

 -> some things I found v imp: article 14 (equality principle) ; article 19 (reasonable restrictions) ; Article 20 (section 377 chronology) ; Article 21A - DPSP to fundamental right ; arrest v/s detention ; DPSP ( 5 features, 5 dpsps) ; Fundamental duties (5) 

Quasi judicial bodies: v simple -> functions and features pata hona chahiye
Intl Law Divide into 2 parts and do separately:

 -> Page 163- 172 (right above intl human rights) -> page 172 ( intl human rights) to 178 

Legal Professions Again, divide into 2 parts:

 -> page 183-189 ( legal ed in india) -> pages 189 ( usa) to 193. (This is a lot to retain thus I recommend doing this alag se) 

Legal Services: Simple hai sabse zyada!

 ->make good notes 

—————————————————————————————————————————————————————————————————————————————————————

My(35m) girlfriend(32m) have been dating for roughly 2years and living together for 1year. She has 3 boys(10, 9, 4) I have no kids if my own. The older two call me dad and respect me as such, they however are very lazy and disobedient when I’m not around (my previous post longing for help with this was met with awesome feedback). And the 4 year old is a complete mess, anti social and 100% mamas boy. I’ve recently set boundaries to prevent myself from being the maid/nanny where I won’t be picking up after them, doing ALL the chores only to come home to a mess. FYI she works mornings and I work evenings. The issue I’m facing is that every time we go out shopping, park, amusement park etc. the 4 year old is unnecessarily made the centre of it all with his horrible behaviour, he doesn’t listen to me or gf, throws fits and runs wild. Every park visit and even beach visit is all about chasing him around catering to his needs, I used to love the beach and now I hate it. I’m always the 3rd wheel as the older boys do their thing and she chases the 4yo around. She’s convinced this is normal and won’t understand that he needs to behave better and listen for everyone involved to enjoy their time. If he would just listen it would be so much better that way we can play together but he’s just off fuckin disobeying…..kinda like he does it on purpose or something.
He cries and throws fits on occasions like birthdays and Christmas if he’s not centre of attention and unwrapping presents. Ex. Mother’s Day, didn’t even come out his room when asked to see mom, just threw tantrums cause she had gifts. He doesn’t sleep at night, just leaves his room and goes through everything, this morning I found a carton of eggs on his bed and 1 egg missing (I work out and watch my nutrition and buy my own groceries and help her financially with hers and the kids) so the food waste kills me, and he wastes 1/2 of all foods! And that egg was 7g protein!!!!!!! LOL
I’m made to be the bad guy and overly critical when all I ask is to allow him to at least try and be an individual to a tiny degree as this sept. He’s going to school (I don’t look forward to the storms that’ll come with that). So, basically that’s like 50% of the issues, but what I have told my gf is that for my own self respect and mental health I do not want to go in public with him, until he learns and she teaches him good behaviour I would not like to waste my time going out and feeling like crap and third wheeling, her response is that she wants a partner to do family things with and who enjoys all of her kids etc. it’s like she’s in denial that even she’s embarrassed and hates it half the time. Now it’s either I don’t go and she treats me like a stranger all weekend or I go and get crapped on for ‘looking miserable’ and eventually end up chasing 4yo around. Feels like a lose lose thus I resent weekends.
My gf calls my evil and a hater when I keep my distance from him, calls me a bully when I call him out for not washing hands (I’m a retired healthcare provider and like to be clean myself and my home). She will shut down intimacy sometimes based on how my interactions with him go. It’s INSANE. To the point getting engaged is no longer a short term goal as she needs me to love him and pamper him to be approved for her hand. Wtf! Hahahaha so weird rereading that!
Am I wrong to not want to put myself in those situations? Should I just go out with them and pretend I’m okay? Like I’m even in therapy because of them and next visit I’m addressing this. Although my therapist told me her husband doesn’t go EVERYWHERE with her and their kid. It makes me unhappy and only do it cause gf says it’s important to her, even though 90% of outings end in her and I arguing because her kid SUCKS! This has me so sad, lost, and misunderstood. I love them all and do all I can for them, but I feel for my sanity in trying to draw a line (temporarily) yet she loses her mind thinking I don’t love him. what to do, oh what to do?

Hi there,
my brother has recently been diagnosed with autism. He’s finishing high school in two years and has to interpret a lot of short stories, poems, etc. for his language classes. Even though he’s very into literature and his writing is amazing, his grades are just kinda mid at the moment. He mostly gets the feedback from his teachers that he misinterprets the short stories, poems, etc. and his analyses are missing the point.
So I’m wondering if there’s any way I can help him with that? I know there’s no „one way“ to interpret a poem but maybe some of you can give me some advice?

Lesson Plan: Exploring Cultural Celebrations Across Holidays
Objective: Students will gain an understanding of various cultural celebrations, exploring the unique traditions, symbols, and practices associated with Hanukkah, Diwali, Kwanzaa, Las Posadas, Winter Solstice, Chinese New Year, Boxing Day, Ganna, Oshogatsu, and Global Celebrations. They will appreciate the cultural significance and diversity of these holidays while finding creative ways to express their own cultural heritage through writing and creative activities.
Day 1: Introduction and Research (1 hour)

1. Opening Activity: Holiday Icebreaker (15 minutes)
   
   • Start with a brief discussion about students' favorite holiday traditions.
   • Share a few diverse traditions from different cultures to pique interest.
2. Introduction to Holidays (15 minutes)
   
   • Provide an overview of the ten holidays, briefly explaining their cultural and religious significance.
   • Discuss the importance of cultural diversity and understanding in today's global society.
3. Research Activity (30 minutes)
   
   • Assign each student a holiday to research. Provide resources (books, articles, websites) for them to explore.
   • Instruct them to focus on key elements such as symbols, traditions, rituals, and historical background.
4. Group Discussion (15 minutes)
   
   • Students share their findings in small groups, discussing the uniqueness of each holiday and what aspects resonate with them.

Day 2: Creative Expression and Writing (1 hour)

1. Reflection and Discussion (15 minutes)
   
   • Begin with a brief reflection on the previous day's research.
   • Discuss what aspects of the holidays students found most intriguing or surprising.
2. Creative Writing Exercise (30 minutes)
   
   • Encourage students to choose one holiday and write a short story or poem inspired by its traditions.
   • Emphasize the use of descriptive language to capture the cultural richness and significance.
3. Sharing and Peer Review (15 minutes)
   
   • Students share their creative writing pieces with a partner or small group.
   • Encourage constructive feedback, focusing on how well the cultural aspects are conveyed.
4. Expressing Personal Culture (15 minutes)
   
   • Discuss the importance of expressing one's own cultural heritage.
   • Assign a short homework task: Write about a personal cultural tradition or celebration that is meaningful to them.

Day 3: Presentations and Reflection (1 hour)

1. Individual Presentations (30 minutes)
   
   • Students present their personal cultural writing assignments to the class.
   • Encourage the use of visuals, artifacts, or personal stories to enhance presentations.
2. Group Activity: Cultural Exchange (20 minutes)
   
   • Divide the class into small groups and assign each group a holiday different from the one they researched.
   • Instruct them to discuss similarities, differences, and potential cross-cultural influences.
3. Reflection and Closing (10 minutes)
   
   • Lead a class discussion on the broader themes of cultural appreciation and understanding.
   • Encourage students to reflect on what they've learned and how they can apply this understanding in their lives.

Assessment: - Research participation and group discussions (Day 1) - Creative writing piece (Day 2) - Presentation and cultural exchange activity (Day 3)
Homework: - Reflect on the cultural exchange activity and write a short paragraph about one interesting aspect learned from another group's holiday.
Additional Notes: - Encourage students to use a variety of resources for research, including books, articles, and interviews with individuals who celebrate these holidays. - Foster an open and respectful environment for discussing cultural differences and similarities. - Emphasize the importance of empathy and understanding when exploring diverse traditions.

"The Sewed King is the name given to an hypothetical entity that originated from a corrupted fable weaved by editors, it all started with a world being written by one of those meta entities mentioned in Tales We Weave. Originally the story was supposed to be cheerful and happy, with not many details but being a narrative that could embody joy and happiness. It started with a brave and happy king living in a kingdom located near a beach, the king didn't had a queen or even kids but he was still happy as well his kingdom who was considered the strongest and happiest kingdom among all, no monarch could even understand the secret the king had to have such a perfect happy place. Eventually the king met a beautiful woman in which he fell in love and decided to marry her, and so the already happy kingdom won a new queen to rule over them"
"Though the narrative seemed short, simple, and cheerful something went severely wrong when it suddenly started self writing bad plots and replacing happy parts with horrific sentences, some sentences being extremely disgusting and horrible even for editors to read. Attempts to edit the narrative and rewrite it back as it used to be didn't seemed to work, and the narrative somewhat always returned to self write bad things. Seeing that nothing seemed to be working, the editors decided to rip and terminate the narrative of the happy king, deleting the story and ceasing it's existence. However this would only prove to be ineffective when several stories from the Collective Webs started behaving and presenting bad plots everywhere, with tragic and horrific scenes happening consecutively. Most of the times the story ended with the protagonist or either the people losing their limbs and members, and so the once simple narrative became a nightmare for editors to remove and purge since the influence of the Sewed King was spreading exponentially like a virus through the endlessly stories of the Collective Webs, attempting to rewrite all stories to become horror narratives instead. Aiming to stop the problem for once and for all, many editors gathered together in a final attempt to counter attack the horrific influence of the Sewed King before it could spread to the Primary Webs. It demanded more than eight thousand editors to purge the bad influence that was harming the Collective Webs and so the problem seemed to be once again terminated and closed (or at least is what they believed)"
"Due to the lack of informations it is almost impossible to describe when exactly the events of the Sewed King happened but it is assumed shortly after the narrative of the happy king was terminated. The Sewed King Is apparently only believed to be a event that corrupts narratives and creates horror stories wherever it's infection has spread further beyond the multiverse. While only believed to be something and not someone, the idea of the Sewed King being a entity wasn't discarded by editors due to patterns being observed in different stories, with them always ending with the characters being torn apart and a mysterious figure watching in the background. However nothing was confirmed and the idea of them being a actual entity remained hypothetical. When manifested in the story, The Sewed King will change the plot of the story and turn it into a horror story instead, making it end tragically for the protagonists most of the times"
**Trivia: -The name "Sewed King" was created by editors after noticing that most of the stories that were corrupted and infected by the horrific plot, had dead people with their limbs or members being sewed like if it was ripped off their body and sitched back into them
-There are currently no solid evidences to confirm the Sewed King is a entity instead of a event
-Things such as personality or appearance are also inapplicable to the Sewed King due to the fact of them having never appeared psychically, remaining as an hypothetical being instead
-Reports points that this anomaly somewhat embodies horroterror plots and writing, representing the detrimental side of the narrative's plot**
------Poem of the Happy King-------
Once upon a time, there existed an kingdom located near an beach where it was ruled by its brave and happy monarch, the king didn't had offsprings and neither a queen but he was still happy and confident in eventually finding a woman to give continuation to his bloodline. Everything in the kingdom was always cheerful and happy, the residents were satisfied with their monarch and so peace ruled over the kingdom for decades till the most happiest day when the king found the perfect woman to be his queen, and so the marriage happened with the entire kingdom being invited for the ceremony and crowning of the queen. After the crowning of the queen and days celebrating the new queen the kingdom thrived and grew in prosperity and power becoming even happier than it was. And so The King and the Queen lived happily together and forever.
----------------------The end-------------------

1. Sonnet:
   A 14-line poem, traditionally written in iambic pentameter, with various rhyme schemes such as Shakespearean (ABABCDCDEFEFGG).
   
2. Haiku:
   

A three-line Japanese poem with a 5-7-5 syllable count, typically capturing a moment in nature.

1. Free Verse:
   Poetry without a fixed rhyme or meter, allowing for greater freedom and natural flow of expression.
   
2. Villanelle
   

: A 19-line poem with a specific structure, containing five tercets followed by a concluding quatrain, using only two rhymes.

1. Acrostic:
   A poem where the first letter of each line, when read vertically, spells out a word or message.
   
2. Limerick
   

: A humorous five-line poem with a specific meter and rhyme scheme (AABBA).

1. Ghazal:

A form of poetry with rhyming couplets and a repeating refrain, often exploring themes of love and loss.

1. Tanka

: A Japanese form of poetry with a 5-7-5-7-7 syllable count structure, focusing on nature and emotions.

1. Sestina:
   A complex poem with six stanzas of six lines each, ending with a three-line envoi; the same six words end the lines in a shifting pattern.
   
2. Cinquain
   

: A five-line poem with a specific syllable count for each line (2-4-6-8-2), often used to capture a moment or emotion.

1. Rondeau:
   A 13-line poem with a rhyme scheme and repetition of specific words, often emphasizing themes of love.
   
2. Pantoum
   

: A form of poetry with repeating lines, where the second and fourth lines of each stanza become the first and third lines of the next.

1. Ode:

A lyrical poem expressing strong emotions or deep feelings, often addressed to a particular person or thing.

1. Elegy:
   A mournful poem, typically written in remembrance of someone who has passed away.
   
2. Ekphrastic
   

: A poem inspired by a work of art, often describing or reflecting on the visual piece.

1. Concrete Poetry:
   Poems where the arrangement of words on the page forms a visual representation of the subject.
   
2. Prose Poetry
   

: A hybrid of prose and poetry, characterized by its free-flowing structure and poetic language within prose form.

1. Epigram:

A short, witty, and often satirical poem or statement, typically with a clever or humorous ending.

1. Quatrain

: A four-line stanza or poem with various rhyme schemes, commonly used in ballads and hymns.

1. Epitaph

: A short poem or inscription on a tombstone in memory of the deceased.

After sixty-seven sessions of Curse of Strahd (read all about it here), it was time for a change. So into the wild we went...
My group is nearing the end of Hither, and along the way I've written summaries of each session ("What Just Happened?"), along with interesting/funny quotes from PCs/NPCs ("Certain Things Were Said"), and a list of new characters introduced that session ("Dramatis Personae").
My intention is to write the summaries for each of the five parts of the campaign in a different format. For the Witchlight Carnival, each summary was presented in verse (my own, no machine learning shortcuts!), using the metre and rhyming structure of various Lewis Carrol poems.
I'd like to share my summaries/poems with you all here, for posterity, and in the hope you'll find them entertaining.
For reference, the players are:

• Holafina (a harengon paladin who has lost three inches of height)
• Skerrek (a kobold druid who has lost the ability to lie)
• Arix (an owlin monk who has lost all sense of direction and is always hungry)
• Jexim (a brash fairy warlock who has lost his diary)
• Sylenos (a beatnik/slacker satyr rogue employed by the Carnival)

NOTE: Lewis Carroll was known to hide secret messages in his poems. I've done the same, revealing the campaign's big twist in one of the poems below. None of my players have picked up on it.

Part I: Welcome to the Witchlight

What Just Happened? (in the style of Jabberwocky)
’Twas twilight when the carnival Did open wide two golden gates, And those with tickets did arrive, Seeking things they had misplaced.
One harengon of curious size, A kobold with a slithy gait, An owlet who possessed two eyes As wide as Annam’s dinner plates.
Yet are we three or are we four? Let’s add vibrations rarefied: A Witchlight hand here to ensure That every guest is Satyrs-fied!
Enter now and taste the sounds, Feel these colours, smell those sights! Kaleidoscopic fun abounds This synaesthesiac’s delight!
Yet where’s the drama? Where’s the tension? Certainly we’ve had a switch (At least in here there is no mention Of that cad von Zarovich).
Instead let’s race a giant snail, Eat candied mushrooms by the pound, Or listen to a gnome assail The tightness of your mother’s gown.
Yet hark! A misadventure glum! Those not heroes please give berth! The best laid plans of love undone By Tasha’s wild unruly mirth
These mirrored halls! This desperate task, To find a luckless paramour A sweet-toothed lass with porcine mask That you could swear you’ve seen before…
’Twas twilight when the carnival Did open wide two golden gates And those with tickets did arrive, Now guided by the wiles of fate.
Dramatis Personae
Arix Specklefoot, a sweet-toothed owlin Holafina, a curiously short harengon Skerrek Tirael, a slithy kobold Sylenos, a cosmic satyr Nicholas Midnight, elderly goblin ticketmaster at the Witchlight Carnival Candlefoot, a mime and not by choice Rubin Sugarwood, a lovesick halfling Ween Sundapple, his laugh-sick paramour Glorange Turple, a poetry gnome
Certain Things Were Said
“I am worried about your ability to sense vibrations that I cannot.” - Skerrek Tirael
“Tymore, goddess of good fortune! Look well upon Shellymoo this day!” - Holafina
“Hate to say it, man, but that gnome really insulted your mother.” - Sylenos
“Snacks?” - Arix Specklefoot

Part II: Lost and Found

What Just Happened? (In the style of The Walrus and the Carpenter )
"The time has come," the Satyr said, "To talk of many things: Of poems—and props—and Jeremy Plum— Of crowns and pixie kings— And why things here keep getting lost— And what this pig-girl means."
"But wait a bit," the Owlin cried, "Before our minds do meet, For some of us are pretty spooked, And I would like a treat!" "No hurry!" said the Satyr, And kicked up cloven feet.
The Owlin and the Kobold Were walking close at hand, They smiled like anything to see The gates of Pixie Land. "If we could only stay a while,” They said, "it would be grand!"
The Satyr sighed so sulkily, Because he thought that Plum Had got no business to be there When all was said and done. (“It's rude of him," the Kobold said, "To try and spoil our fun!")
"Oi, Satyr," said the pixie king, "You've had a pleasant run! Should you be getting back to work?” But answer came there none And this was scarcely odd, because He had real beef with Plum.
Now Arix made a hamster friend Who offered up some clues. The others tried the riding-pug: A pleasant thing to do! (“The pug is fine," the Rabbit said, "But he’s no Shellymoo.”)
"How nice of you to come!” said Plum, "You all are oh-so kind!" Puddlemud said nothing as His teeth began to grind. The Owlin and the Kobold cheered: “That was our FAVORITE ride!”
“A wooden crown," fair Jexim said, Is what we need to come Our way along with golden paint For some un-princely sum.” The others stared, confused, and said: “Now where did YOU come from?”
‘Twas then the party dared approach The famous Mystery Mine Where psychedelic spectacles Broke the Satyr’s mind. (“I really wish,” Zephixo sighed, “You wouldn’t ride while high”).
Next Dirla pulled all kind of things Out of his wagon/portal: Bottles, bunnies, candlesticks, A shining blade of vorpal (Incidentally, there’s a word That kind of rhymes with purple).
“If you put your mind to it And searched for long enough, Do you suppose," the party said, "That you could find our stuff?" "I doubt it," said dear Dirlagraun, And gave a bitter huff.
Then he gave the Harengon The greatest gift by far: A copy of “Gnome On The Run” And bid them au revoir (Morgie would have laughed at that While trying to type slash “R”).
“I do believe,” the Satyr said, “That something is not right, And think we ought to pay a call To Messers Witch and Light.” “I think we ought,” the Owlin said “To first stop for a bite.”
But in their way old Thaco stood, A clown grown grim and surly: “Rabbit! Owlin! Pixie! Skink! You aren’t allowed to be-“ The Fairy interrupted him: “Wait, WHAT did you call me?”
Poor Thaco cried: “Things move too fast! And have since my debut In R-1: To the Aid of Falx From Nineteen Eighty Two! And if you’d seen what I have seen Then you’d smoke bubbles, too!”
Finally he stepped aside, At last the way was clear. The Satyr ambled stealthily With open eyes and ears And pressed them to a wagon large To see what he could hear.
"The time has come," Witch and Light said, "To talk of things galore Of prizes—plans—and kenku pests— and ever so much more— But first we’d better ask inside Those spying at our door!”
Dramatis Personae
Jexim, a puzzled, puzzling fairy Jeremy Plum, operator of the Pixie Kingdom and bestower of silly names Biscuit, a talkative hamster Pinecone, a riding-pug Zephixo, dwarven inventor and mastermind behind the Mystery Mine Ernest Wilde, middle-aged calliope master currently inhabiting the body of his pet monkey Marigold, his button-collecting goblin assistant Dirlagraun, a kindly but inefficient displacer beast, minder of lost children and property Thaco, a bubble-smoking clown who is long past his prime
Certain Things Were Said
"Worried I was, with talk of missing supper." - Arix Specklefoot
"Could you not just purchase a new pair?" - Skerrek Tirael "Not like this, man." - Sylenos
"If you'd see the things I've seen, you'd smoke a bubble pipe, too." - Thaco
"Is this it?" - Dirlagraun "NO." - Everyone

Part III: On the Trail of the Kenku

What Just Happened? (In the style of The Hunting of the Snark)
"Where the heck is our stuff? We just want to know This Harengon ain't getting bigger, Arix has no idea of where to go And lies send poor Skerrek a-quiver!"
"Would you get back to work?" Mister Light cried, Twirling his cane with a smile, "Otherwise find where this kenku pest hides; She's cramping this carnival's style!"
"Well, that was a bust," said our heroes, conferring, "Anyone got a suggestion? If we need to pull strings to get back our things Then there are some folk we should question."
"Time's an illusion, free will a delusion!" Sylenos' mentor decreed, "Get a contusion battling occlusions, Or relax and have some of this…wait, what was I saying?"
Sylenos proclaimed: "A genius flawed!" "A man/dragon ahead of his time." Skerrek looked at his claws; Holafina at paws, And the other two just rolled their eyes
"A centuar I'm not! I just made a bad trade The "Cloppinton's" just serendipitous, Now lend me your aid and you'll maybe persuade These horsies to drop some significance."
Then they took to the skies on a dragonfly ride (Holafina and Skerrek abreast), When you're this high there's just nowhere to hide (And to which Sylenos attests)
Now Skerrek honed on a runaway gnome Who was fleeing the carnage with glee, Holafina struck home and that's it for this poem For the gnome was the kenku, you see.
Dramatis Personae
Mister Witch, a matter-of-fact elf, devoid of pretense Mister Light, a flamboyant elf, luminous and coy Burly, a philosophical, pumpkin-helmeted bugbear Mandragon, a seeker of truth (and not much else) Diana Cloppington, a centaur who is apparently not, operator of the Carousel Northwind, a very forthcoming treant, operator of the Dragonfly Rides
Certain Things Were Said
"There’s something weird going on. For some reason everyone thinks I don’t do anything around the carnival." - Sylenos
"It's true, Miss Cloppinton! We've ALL lost things." - Arix Specklefoot
"Wait, when did we have biscuits?" - Jexim

Part IV: Through the Looking Glass

What Just Happened? (In the style of A Boat Beneath a Sunny Sky)
Now hear the Kenku’s strange reply (As Arix struggles to apply Triage to these pixie guys)
Asking questions, getting nought Set her on a different course: High sabotage without remorse!
And what has got her so irate Is what’s she trying to intimate: Zybilna has been quiet of late!
Ignore the rest, and let’s take flight To confront dear Witch and Light (Surprisingly, they’re quite contrite)
To keep the carnival in motion A tapestry of lies was woven: A deal with the Hourglass Coven!
Who take from those who can’t afford Entrance through the Witchlight’s doors Miscellanea adored
So THAT’s who taken all your junk! Time to find these Hourglass punks! Which way to this Feywild dump?
But first we’ll make a brief aside So Candlefoot can vocalise His mermaid love (now legalised)
Now the pair can tie the knot And while we’re passing time why not Ride the fabled Bubble Pot?
Yet ere you all are translocated (Everybody’s breath now bated) Arix must be coronated!
The time of truth has come at last Hesitation as you pass Though the hallowed looking glass
Are you afraid to lose your minds? What lies ahead? What lies behind? What do you expect to find?
Will Skerrek ever fabricate? Or Holafina emulate A bunny’s median height and weight?
Shall Jexim’s memoirs find acclaim? Can Monty locate Bobbitt Fane? (…hang on, that’s a different game)
Does Arix ever find the door? And will Sylenos flee the cause To study unemployment law?
Dramatis Personae
Kettlesteam, a mischievous patron of Zybilna Paleesha, a mellifluous mermaid, now reunited with Candlefoot
Certain Things Were Said
“Sylenos, perhaps in eight years you can come back and find your lost employment.” - Skerrek
“Ask me where the exit is.” - Arix Specklefoot “Where is the exit?” - Mister Light “I don’t know.” - Arix

If this content is something you want to see more of, comments below will be taken into consideration as we prepare to start finding the open submissions for a variety of writing and artwork competitions. If it's of no interest, let us know that too! This is YOUR subreddit!
Seeking Submissions for Poetry Chapbook Prize
Deadline: December 31, 2023
The winner of The Headlight Review’s 2024 Poetry Chapbook Prize Contest will receive publication (a perfectly bound book with a full color or black/white cover), an award of $500, and 25 copies of the book. A list of finalists will be announced sixty days after the close of submissions. All manuscripts will be judged blindly. The finalists who make it through the first round will be judged by esteemed poet Valerie A. Smith.
2024 Press 53 Award for Short Fiction
Deadline: December 31, 2023
The 2024 Press 53 Award for Short Fiction will be awarded to an outstanding, unpublished collection of short stories. Reading Fee: $30. Award: $1,000 cash advance, publication, and 53 copies. To Enter: Submit online with Submittable or by mail from September 1–December 31, 2023. Press 53 short fiction editor Claire V. Foxx will serve as the only judge. Winner and finalists announced by May 1, 2024; advance review copies sent to major reviewers and outlets; publication in May 2025.
Complete details at www.Press53.com/award-for-short-fiction.
After Happy Hour Contest (Theme: Animals)
Deadline: February 15, 2024
For this year’s contest, we want submitters to go wild—or domesticated, or sentient, or whatever other form of beastly you’re feeling. Submissions should feature some kind of animal that is integral to the story. Note that this doesn’t need to be a real animal—it could be a cryptid, a hybrid, or a human-to-animal transformation. Each $10 contest entry covers 1 short story, creative nonfiction piece, or suite, or up to 3 individual poems or flash prose pieces. Winners receive publication and a cash prize determined as a percentage of total entry fees (full details are on our website).
The swamp pink Prizes in Fiction, Nonfiction, & Poetry
Deadline: January 31, 2024
Formerly known as the Crazyhorse Prizes, the swamp pink Prizes award $2,000 and publication to a story, essay, and poem. From January 1 to 31, submit a story or essay of up to 25 pages or a set of 1–3 poems via Submittable. Judges for each genre can be viewed on our website. The entry fee is $20; all entries will be considered for publication. swamppink.submittable.com/submit
2024 Bill Hickok Humor Award Deadline: February 28, 2024
I-70 Review announces the Bill Hickok Humor Award for a poem. The winner receives $1,000, and the poem will appear in I-70 Review 2024. Submit one to three poems with a $15 entry fee to i70review@gmail.com. Reading period: Jan 1 to Feb 28. No submissions before January 1. Submissions will be eligible for publication in I-70 Review. The judge is Alice Friman.
For more info visit i70review.fieldinfoserv.com.
The Orison Prizes in Poetry & Fiction
Deadline: April 4, 2024
The 2024 Orison Prizes in Poetry & Fiction offer $1,500 and publication by Orison Books for a full-length manuscript in each genre. Judges: Ellen Bass (poetry), Kaveh Akbar (fiction). Entry fee: $25. Entry period: December 1, 2023–April 1, 2024. For complete guidelines visit orisonbooks.com/submissions.
2024 Colorado Prize for Poetry
$2,500 honorarium and book publication: Submit book-length collection of poems to the 2024 Colorado Prize for Poetry by January 14, 2024 (we will observe a 5-day grace period). $25 reading fee (add $3 to submit online) includes subscription to Colorado Review. Final judge is Brenda Shaughnessy; friends and students (current or former) of the judge are not eligible to compete, nor are Colorado State University employees, students, or alumni. Complete guidelines at coloradoprize.colostate.edu or Colorado Prize for Poetry, Center for Literary Publishing, 9105 Campus Delivery, Colorado State University, Fort Collins, CO 80523-9105.
Burnside Review Press Contest
Manuscripts of 50-100 pages of poetry will be accepted until December 31, 2023. Arda Collins will judge. The winning book will be published by Burnside Review Press in 2025. The author will receive a $1,000 prize, plus ten copies of the book. A $25 entry fee must be paid at the time of submission. Contest entrants will receive one Burnside Review Press title. The editors may select an additional manuscript from the submission pool for publication.
Visit www.burnsidereview.org for complete guidelines.
2024 William Saroyan International Prize for Writing
Deadline: January 31, 2024
Submissions are now being accepted for the 11th Saroyan Prize. The awards, co-sponsored by Stanford Libraries and the William Saroyan Foundation, are intended to encourage new or emerging writers and honor the Saroyan legacy of originality, vitality, and stylistic innovation. Two prizes of $5,000 each are given for works of fiction and nonfiction. Writers who have published four books or more are ineligible. Submit five copies of your work published between January 1, 2022, and December 31, 2023, with a $50 entry fee by January 31, 2024. Visit our website for complete eligibility and submission details: saroyanprize.sites.stanford.edu.
Interim Poetics: The Test Site Poetry Prize Deadline: December 15, 2023
Interim will choose two winning books for the series—one title publicized as the winner of The Test Site Poetry Series and the other as the Betsy Joiner Flanagan Award in Poetry. Both winners will receive a $1,000 award and their books will be published by the University of Nevada Press. Submit by December 15, 2023. www.interimpoetics.org/test-site-poetry-series
Driftwood Press In-House Contests + Additional Submission Opportunities
Deadline: January 15, 2024 (In-House Contests)
Driftwood Press is happy to share a plethora of submission opportunities for writers and artists! Our In-House Short Fiction & Poem Contests, in which every work submitted is considered for publication as winner or runner-up, is ending soon! For our yearly print anthology, we are looking for poems, short stories, comics, and visual art that will wow our readers with innovative language and strong craft. We are a paying market, and our published writers also get to take part in bespoke interviews about their work! Driftwood is also on the hunt for amazing book-length titles to grow our catalogue, so if you have a novella, poetry collection, comic collection, or graphic novel manuscript, we would love to read it! Visit us here for our Submittable page, and we encourage you to follow us on social media (@driftwoodpress) to learn about even more submission opportunities!
The Twin Bill’s Second Annual Baseball Lit Contest
Deadline: December 30, 2023
The Twin Bill, a baseball literary journal, is open for submissions for their annual contest for best baseball fiction, creative nonfiction, and poetry. The winner in each category will receive $100 and an engraved baseball trophy. The runners-up will receive $50 and will be published in our January 31 issue. Each piece will be professionally illustrated. Contest submissions are $10 and will be considered for both the contest and the Opening Day issue. thetwinbill.com/submissions/

I am not The OOP, OOP is u/Nocontact4you
None of my family knows this trip will be the last time they see me.
Originally posted to TrueOffMyChest & Poems
Thanks to u/lolfuckno for suggesting this BoRU
TRIGGER WARNING: Infidelity, cancer, ableism, bullying, abandonment, emotional abuse of a child, verbal abuse, neglect, lies, mentions of miscarriage
MOOD SPOILER: Depressing
Original Post Feb 4, 2024
Firstly, I’m okay, physically anyway.
Honestly, I have no idea who this is for, but I think I just need it out of my head.
The circumstances of my birth were complicated. I broke up two marriages, and my family has never been shy about how they feel about me for that. Only one of my brothers has gotten drunk enough to tell me to my face that he resents me for existing, but I know it exists within all of them, at least in some way. Im much younger than all my siblings, and there was so much that happened out of our hands that I made excuses, but my whole life, I’ve never quite felt “part of the family”.
As a child, I told myself we’d make up for lost time once I got older and we could talk as equals. Now, at 23, I see glimpses of the life I wished I’d have, but in the end, I’m always too much trouble to involve. I hear EVERYTHING from my father. I had to find out my niece was in a car accident from him; I had to find out my other niece had a miscarriage from him; I had to find out my oldest brother had a BRAIN TUMOR haphazardly on a phone call with my father, which he didn’t even know I was unaware of.
I’ve known for a while I’m the only one trying, but for the sake of my dreams, I’ve given every opportunity for them to let me in, but I just can’t do it anymore.
I have a psychiatric service dog who aids me with CPTSD. He is the single greatest thing to happen to me. Not only did he save my life from myself, but he has made life livable. He can tell when I’m panicking and he knows pressure therapy to help me through an attack. He stops me from hurting myself in meltdowns, sits with me until the only noise I can hear anymore is his snoring on my lap. He allows me to go grocery shopping by myself. He is my soulmate, and anyone who knows me knows how important he is to me.
My dating life isn’t thriving, so I took a shot in the dark and asked my niece if she minded if I brought my service dog as my plus one for her wedding at the end of this month. I have to fly across the country to go, so I will be bringing him anyway since I cannot fly alone. I figured it couldn’t hurt to see if he could not have to stay in the hotel all night. I do not technically need him for the event, since I’ll know every guest and I will be drinking pretty heavily to cope, but getting to spoil him with a bow-tie, dancing, and STEAK, sounded like the perfect reward for helping me on my flight. Several times, I emphasized that I understood it was an odd request and she could say no if she wanted.
She was EMPHATIC that he could come! She said even if I found a date, he could come! I was elated! For once, I felt seen, I felt cared about, I felt valued. And then I got a call from my dad. No one wanted to make things awkward, but the mother of the bride was NOT okay with a dog being at the venue. I explained that he is a trained service animal and will not impede the ceremony in anyway, and I’d of course remove him if he did. Still, he said they didn’t like it. I was so tired of hearing everyone else’s words through my father. He won’t be around forever and sooner or later, they will have to start talking to me
I had one request: let the bride tell me. When I asked her, she said yes, and until she told me she changed her mind, I was under the assumption he could go. Well, I never heard back. My dad kept dropping hints when i’d call him, but I told him what my expectations were. When I RSVP’d, I put my dog as my plus one on the response to let them know I wasn’t backing down this time. At this point, I didn’t even care if she said he couldn’t go. I just wanted to hear it from her.
The next morning, I woke up to an EMAIL from my father. Not even a text, a fucking email explaining that my niece didn’t want to be the bad guy, but my dog was NOT welcome at the wedding. He said he was sorry, but he could still come with me to the hotel if I wanted.
Something inside me broke, I think. I think I realized this is truly a helpless case. They are never going to respect me the way I crave them to. To this day, not one of our conversations has been started by them. I always initiate, and now, the one time I request a direct contact, I get an email.
Family means everything to me. Over the last few years, i’ve redefined what a family can be, and if right now, my family needs to be a very damaged orphan and their service animal, I’m grateful I have that much.
So, I’m going to the wedding, and then I’m never going to talk to any of them again.
And the sad part is, I didn’t even think they’re going to notice.
Update:
First, thank you to everyone for the kind words, and all the advice. It sincerely means so much that so many people care. I want to address all the questions about why I want to go to this wedding at all. There are plenty of practical reasons that I can name, but the truth is, I need to go for my own closure.
I have a strange relationship with death, and loss. My mother died when I was 5; my family split up right after. I’ve lost several caregivers to serious diseases, grieving their death as they lived. I’ve learned how to navigate MY grieving process. If I don’t go to this wedding, I will regret it. Not only is it my last chance to see my childhood family all together in one place, but if I don’t go, I show them they can bully me. I do not want to make a spectical of my trauma with them, but that does not mean I have to walk away with my tail between my knees.
I’m not scared of them. My relationship is non-existent, but I did see my siblings/cousins/neiecesandnephews fairly regularly. When I was a kid, they intimidated and bullied me into silence, but I’m not a child anymore. I lived with these people; I can manage one night, if for no other reason than to prove they cannot control me.
Thanks again for all the kind words. Happy to provide a pupdate if someone can tell me how to post pictures from the app?
RELEVANT COMMENTS
When told not to go to the wedding

I spent $700 on a plane ticket and $200 on a suit. Least I can do is go drink someone else’s liquor and dance my worries away. Besides. It feels like goodbye

&

The cherry on top is they are all very conservative Christians, and I will be going in a suit with my hair dyed green and makeup done to the nines, so this will be my biggest “fuck you, I’m here anyway” I can pull off. Truthfully, my father’s memory is starting to go as he gets older, so even if I did explain my feelings, he will end up sharing anyway, so I’ve made my peace with the fact that it will be a one-way-street because lord knows they’re not gonna ask what I’m up to.

When told to call the bride directly

The last 20 years of trauma will not be solved with one phone call. This was their last chance to prove to me they want me in their lives. It’s not about the dog. It’s the fact that all I asked is to be treated like a person and talked to directly, and they have proven to me they don’t care, so I’m leaving. I already did my job of reaching out to her and she said yes. Why is it my job to reach out and make sure she hasn’t changed her mind?

When told her father is an asshole and he is the one responsible for everything

THANK YOU! I have felt like the only one who cannot fathom how that conversation could be had over EMAIL?? It’s sadly not uncommon for them to communicate through him, and I always have the receipts after the fact when they’re no longer worried about the awkwardness. My brothers don’t even know where I work. I am building a career around my job. They couldn’t tell you what my relationship status is, and I’d be hard pressed to tell you if they knew my middle name to be honest. My father is not innocent, but they are responsible for their part in our relationship. I have stopped reaching out to them directly because I barely hear back, and it’s clear they don’t really care what I’m saying. I could honestly write a book on the road that’s led me to this choice, but who’s got the time in this economy?

Pupdate for Everyone Asking! Feb 6, 2024
He’s a 2.5 year old, Black and Tan Coonhound☺️
Dog tax
Update Feb 26, 2024
Original Story Here:
https://www.reddit.com/TrueOffMyChest/s/2MfJ98m6kP
POST-WEDDING UPDATE!
So, I went to the wedding. It went about how I expected it to go, though one can never be ready for a spontanious conga line. Sadly, there was no secret last minute invite, nor any secret plot of which the bride was unaware. She felt bad saying no, so she lied, and she didn’t want to tell me that, and she still didn’t, even at the wedding. No one really said much at all, in fact. The mother of the bride did not speak to me at all, my brother tiptoed around the subject until the end of the night. To his credit, he did apologize, “for all the dog stuff” as he said goodbye. Strangely, the apology didn’t make me feel much better.
There was no big confrontation either, mainly because no one cared to listen to me if I tried. As the reception began, part of me wondered how much I was going to miss the people, the environment, the vibe, really. Truthfully, I surprised myself with how ready I was to leave. Goodbye was short, and bittwersweet.
The venue was pretty and the alcohol was free, so I made the best of my night, but I got what I needed out of it, I think. Getting home tonight felt like a weight lifting off my shoulders. I know more than ever that I need to do this, and what I once saw as cutting my family in half, I can now see is clearing space for new family, one that cares.
Thank you for all your kind words, and all the support for my dog!
Arrogance is Bliss March 25, 2024
You don’t love me.
You love an idea of me you fabricated in your mind when I was a child.
I’m no longer a child.
I’m far from perfect, but I’m growing, I’m glowing, and I’m grieving the reality that none of you will ever know the person I become.
You call it love, but my scars disagree.
You hate my hair, my style, my beliefs—you hate me.
And the saddest part is, I don’t even think you know you do.
THIS IS A REPOST SUB - I AM NOT THE OOP
DO NOT CONTACT THE OOP's OR COMMENT ON LINKED POSTS, REMEMBER - RULE 7

So I binge-watched Shogun in the last 5 days, which I know is a travesty because I should have drawn it out longer, but here we are. I knew absolutely nothing about the show beforehand except that it had been recommended as "good". I didn't know it was based off a book (books?), or that it had been a TV series before. I will be honest, the first episode had me a little wary. To be frank, I was less than enthused about the prospect of ten episodes with Pilot/Blackthorne as the protagonist, as I thought might be the case. What followed was probably one of most surprising TV watching experiences I have ever had. I've never cried more times watching a TV show, let alone in such a short span of time. I am not exaggerating when I say that-- Mariko's near-suicide? Cried. Next episode when she is revealed dead? Cried. Blackthorne safely leaving Osaka? Lady Ochiba finishing the poem? Yabushige's death? Fuji spreading the ashes? Each time.
This show emotionally wrecked me so profoundly in just 10 episodes. The performances of the central cast were unbelievable. The show had an emotional clarity and a level of intentionality in certain scenes that I can't recall seeing recently in television. I'm used to watching some shows with very carefully crafted plots like russian dolls, where every scene fits into the next, and there is always a sense of "pace" and elaborate structure. It can be overwhelming an unwieldy. This show had scenes, like the tea room with Mariko and Buntaro for instance, that did advance the plot, but it was a scene that almost felt like it asked the viewer to -stop- the plot, and just watch tea being prepared. There were many moments like this.
Of course, there were many problems with the show as well-- in a first pass, there were a lot of things I didn't understand while watching, I had to watch them back or look up online afterwarrds in an episode recap to figure out what I had misunderstood in a character's actions-- which, you might say is my fault for not having read the books or seen previous shows, but maybe the show was a little disjointed. Also, I'm sure others have a lot to say about this, but maybe the beginning felt slow and the ending felt rushed?
All in all, one of the best acted shows I've seen, one of the most unique shows I've seen-- in the sense that they could have chosen to create a tv series with more fighting, action, sex, etc., but they wanted to make something that has those, but also grief, beauty, poetry, family, duty, etc. I know those are themes in other shows, I just appreciate how earnestly and effectively they were represented here.