2011.08.06 19:52 relic2279 American Horror Story
2021.03.16 21:25 Alyxsandre Jujutsushi
2018.03.01 22:34 cloverkingdom Jujutsu Kaisen
2024.06.10 03:40 JohannGoethe History of the Rise of the Nile Richard Pococke (212A/1743)
Abstract submitted by JohannGoethe to Alphanumerics [link] [comments] (add) Overview In 212A (1743), Richard Pococke, in his Description of the East and Some Other Countries, Volume One, chapter §8 History of the Rise of the Nile (pgs. 249-), presented the following table of recorded Nile flood heights: C We see that 14 cubits, which is the stoicheia of letter N, i.e. N is the 14th letter, is the "indifferent" flood height in cubits, and that above this level we get into the "good" range, that 10 cubits is the "supposed" bad level, and speaks about how if the waters are at 8 or 7 cubits only, it becomes a time of great famine. Citing Herodotus (pg. 251), Pococke says: To go on then with the history of the rife of the Nile. Herodotus speaks of the rise of the Nile from the bottom of its bed; and probably as soon as one cubit was completed, called what was above it by the name of the other. He fays, the Nile did not overspread the country, unless it rose to sixteen cubits, or at least fifteen; and, as to what he observes, that nine hundred years before, in the time of Myris, eight cubits were sufficient;References
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2024.06.10 03:39 Dreadnautilus Darkoath Novel review
2024.06.10 02:27 Hitch42 The Audio Drama Directory links from June 3 to June 9, 2024
The Audio Drama Directory is an online directory of audio drama and storytelling websites, with at least one new link added to it every day, and 100 or more new entries created each month. Here are the newest articles from the past week: submitted by Hitch42 to audiodrama [link] [comments] https://preview.redd.it/oke5fn0j1n5d1.jpg?width=2400&format=pjpg&auto=webp&s=3575346dcc8808494f13584b88094d3413e7beeb
Compiling these links takes a lot of time and is something that I work on many hours every day. If you appreciate this effort and would like to help support it, please consider visiting The Audio Drama Directory Patreon page. The Audio Drama Directory will always remain free for everyone. I post links every day on my social media sites. You can find me here:
Previous weekly Audio Drama Directory posts Previous weekly Audio-Drama.com posts |
2024.06.10 02:08 DueYak2223 25k in debt. I need some advice.
2024.06.10 01:51 Apprentice57 Allan Lichtman's *The Thirteen Keys* were Incorrect in 2016
A disciplined examination of the circumstances surrounding presidential elections since the 1850s discloses a remarkably consistent set of factors, or "keys," that can forecast the outcome of the popular vote in every election.B. He reiterates this shortly thereafter (page 6):
When five or fewer keys are false, the incumbent party wins the popular vote; when six or more are false, the challenging party prevails.C. Lichtman explains why this is the case and makes an unfortunate implication that the electoral vote and popular vote will determine the same winner (page 8):
Because the Keys to the Presidency diagnose the national political environment, they correlate with the popular balloting, not with the votes of individual states in the electoral college. Only twice since 1860, however, has the electoral college not ratified the popular vote: the "stolen" election of 1876, when Democrat Samuel J. Tilden outpolled Republican Rutherford B. Hayes 51 to 48 percent but lost a bitterly disputed contest for the electoral vote; and the election of 1888, when President Grover Cleveland's narrow popular vote margin over Benjamin Harrison was overridden by the electoral college.D. I suspect that equivalence is why, immediately before giving the literal keys Lichtman is much broader and less nuanced (page 7):
When five or fewer statements are false, the incumbent party wins. When six or more are false, the challenging party wins.
Prospectively, the Keys predicted well ahead of time the popular-vote winners of every presidential election from 1984 through 2000. [...] However the Keys cannot diagnose the results in individual states and thus are more attuned to the popular vote than the Electoral College results. The 2000 election, however, was the first time since 1888 that the popular vote verdict diverged from the Electoral College results. And the Keys still got the popular vote right in 2000 [...] no such divergence, moreover, would have occurred in the 2000 election except that ballots cast by African American voters in Florida were discarded as invalid at much higher rates than ballots casts by white voters.I'm actually kinda on board with this, 2000 was a very dubiously called election. And he's true to the original model's claim that it predicts the popular vote.
2024.06.10 01:48 sgubgergetep $350 over median for Ch. 7. Is there hope?
2024.06.10 01:31 lightsandsound Queen of Shadows Recap Help
2024.06.10 00:57 bodycountbook Chapter 8: Chris R free preview/chapter summary
CHAPTER 8: CHRIS R. Free Preview/Chapter Summary submitted by bodycountbook to bodycountbookpromo [link] [comments] This is just a free preview! This is NOT my actual book! This whole page is promo for my upcoming nonfiction novel. 51 men in 51 chapters. Chapters go in chronological order over the course of 15 years of my life. From age 17 to now, age 32. For a year, I edited one chapter a week. BC there are 51 chapters in my book & theres 52 weeks in a year. Each week I would make a promo infographic for the chapter I edited & posted them. This is one of those chapter infographics. Chris R. Was my first REAL real boyfriend. I had a bf (Josh aka chapter 3) from my senior year of high school through the beginning of my sophomore year of college. But we were long distance for most of the relationship after the first 6 months… Chris. R was my first real college bf. We were having sleepovers every single night for over a year & essentially living together. He was a great guy. I was devastated when we broke up. He was everything I THOUGHT I wanted. I’m not one to go through my man’s phone/messages. If I feel like I want/need to go snooping through a man’s stuff, I leave! I’m paranoid AF as it is. I opened MY MacBook to find his Facebook still up & logged in. I was about to sign out when I noticed there were a few chats open at the bottom. The first/newest chat was with another girl I didn’t know & there was an unread message saying something about meeting up with him while he was home from college for a week in the summer to see his family. I was floored. I only read the last few messages. I felt sick to my stomach. I logged immediately out of his Facebook & called him. I told him he need to come home & talk. He came home & I confronted him. He apologized & stated that he never actually met up with said female. I didn’t believe him. I didn’t care. I broke up with him & he left. I wanted him to beg for my forgiveness. I wanted him to grovel. To chase me. He didn’t. I laid in bed and missed class & work for a week or 2. To be fair I skipped a good amount of classes while at JMU, but I had to pay all my own bills & tuition, so I never really missed work. After him I met the first REAL love of my life. ♥️Anonymously E |
2024.06.09 23:34 CromaShin [THEORY] The End of Kep1everse.
Hello Kep1ians, so much time has passed from my last [THEORY] post, did you miss me? I'm here once again to dive deep inside the lore of the last comeback of Kep1er as 9 members and with all chances the last post I will make. Here I will recap all major events happened during Kep1er music videos, analyze the last MV "Shooting Star", point out interesting lyrics and wrap everything up with a last theory. submitted by CromaShin to kep1er [link] [comments] Here below you can read all previous [THEORY] posts if you have never read them, anyway I'm about to recap everything so don't worry, you (I) wont miss anything. The Creation of Adam - Michelangelo, 1512 Kep1er lore summaryPre-DebutLet's rewind back the time, to October 2021. At that time Kep1er was announced with a logo motion of two suns colliding. Through my theories we learnt that a NASA mission called Kepler, as the famous astronomer, discovered systems of Binary Stars, basically solar systems made of two big stars revolving together. Debut, WA DA DA Era Kep1er debuted on Mnet M Countdown with an intro before their Hot Debut stage. In this intro Chaehyun is the first girl in a silent universe, so she start sending radio signals. The other girls copy, now they want to find each others. At that time the two suns are getting closer. When they'll become one, the whole universe will be painted lavender. In Wa Da Da they tried to find each other by sending and receiving those radio signals. Someone responded and that's how the travel has begun. Queendom 2 Era In the stages performed during the show various world were visited, from an underwater planet to a dying planet and even a wonderland planet. The search has just started. Up! Era They land in a Earth-like planet. Chaehyun looked like she was waiting for them, Mashiro keeps receiving signals from the radio and checking other devices. In this world they find a blinking lemon, maybe through this they will get more information on the exact location of the other selves. Wing Wing Era Their Japanese debut adds little to no lore. Some references were made with loud speakers and satellite dishes, meaning that the search is still going on. Sugar Rush Era Here they visit a Dreamworld to help a little girl get over a nightmare, revealing that they can travel through both real and imaginary dimensions. We Fresh Era This time they land on a futuristic cyberpunk world where they're secret heroes in training. In a galaxy far, far away, there existed a special planet, where heroes are born, we welcome you to Kep1anet." From this point on, all events happen in this world. I Do, do you? Era Kep1er are still girls in love and they end up having a prom party but things goes wrong when the guy they had to meet dances with another girl. Giddy Era A huge crustal heart lands on Kep1anet, infusing love and curiosity in Kep1er. They somehow manage to enter in this extraterrestrial body with a key and destroy it, painting the town pink. Galileo Era While visiting an art gallery Kep1er end up inside the paintings while chasing after the gallery owner, a cat named Galileo. You know what? The actual owner was Xiaoting for the entire time! As you can read, Kep1er lore has not ever been so deep. Important events happened only until We Fresh, where after several light years travelled around the galaxy Kep1er found the most suitable planet for them to wait for any further signals from their other alter-egos they've searched so far. This time has finally come at the very last of their career as a whole group. Welcome to the last chapter of Kep1er lore, this is the Epilogue. Close Encounters of the Third Kind - Steven Spielberg, 1977 MV BreakdownNine comets are traveling through outer space, these shooting stars are Kep1er alter-egos, running to meet the other selves the kept searching since ever. In a scene inside a fictitious shooting stastarship Bahiyyh senses something as the comet approaches the Milky Way galaxy. Xiaoting feel this sense in a deeper way, she has a vision of a wavy holographic orb glowing and a glimpse of the planet Earth. What is this orb?The shooting stars have reached Earth and they start falling in its atmosphere, heading to the city where their Kep1er alter-egos are located. Finally, they land in the modern city as nine white luminescent avatars with Kep1er resemblances. The two alter-ego teams meet on a rooftop. The Earthlings seems surprised but happy, like a meeting between old friends, their smile is bittersweet because they know they won't meet again. They came, in this moment they're together, that's what it matters. Now they're complete. Light Kep1ers fly around the city. While Mashiro is wandering through Seoul by night, the wavy orb Xiaoting dreamed of is seen shining in the sky in pink and yellow. Could this be the Sun that has become one? And just how they came, the shooting stars flew away. They were like a dream, a dream you remember for life. Despite the rushed MV production, we got the message clear. The distant Kep1er alter-egos that kept sending their signals finally located other selves on Kep1anet (Earth) so they came as shooting stars. They met, shared this union between the two suns and flew by. to new, other girls like Kep1er earthlings in other planets in the vast universe. Kep1er starship Earthlanding Lyrics BreakdownShooting StarAnnouncing another beginning (Let's start) The Light Kep1er will embark in a new journey to find other girls, this Earth ark has ended and they will start again (from the next comeback, with 2 members less). Oh, all the time, following the light In that moment, I found you just like that day, I appear in front of you like destiny Light Kep1er found Earth Kep1er as fate said, they "appeared" exactly like in the MV. See you again and again and again, In another galaxy as Light-Kep1er travel at light speed they will see other Kep1er of different timelines and galaxies. Embracing each other's flames fully Two suns embracing their flames fully together, when they merge into one. Curious Keep it up, you and my orbit that seems to overlap Light Kep1er are like comets in outer space so they can overlap with other celestial bodies. I found you in Columbus Can't find anything astronomical about Columbus besides a spacecraft module, but I'm sure it's something related. Double Up! Have an unforgettable voyage the journey Light Kep1er are doing across the whole universe Kep 1 going Up! Ah, the sun I encountered when the two suns meet, when the two Kep1er united on Earth. Why does this orb look so similar to the METABALL that connects I-LAND to GROUND in the new Mnet survival show I-Land 2... Last TheoryBy recalling what was discussed in Wa Da Da [THEORY] post, there was a scene where Kep1er walked away from a screen showing other Kep1er in a house. Those girls could be the future shooting stars which started their journey in that moment, or it was just one of the dimensions/worlds they visited to find all other Kep1er."The whole universe colored with lavender" could have a new final meaning: Kep1er wandering in every galaxy to find girls like them, connect with all of them and spreading their message, their dream, their color. Third Impact, The End of Evangelion (why is there a star in a different color...) FarewellThat's it, the end. The Kep1ore has ended and with it our two years and half with all the girls. The story behind their videos has never been very deep, enigmatic or twisted like other groups unfortunately, but I managed somehow to connect everything together to get give them dignity. Let's hope a brighter future for all members of Kep1er and a more interesting story concept behind their next contents in the entertainment industry, under any agency they will re-debut.It was such a pleasure to write these little analyses comeback by comeback, especially each time a new teaser was uploaded. I wish you enjoyed reading my theories as much as I enjoyed writing them. I'll stop making these [THEORY] posts for Kep1er but if you like this content maybe you can look up at my other [THEORY] posts I write on with the same structure. Let's meet again in other subs, in other theories threads. Let's support the girls in their next groups or other careers they want to follow. Bye bye! https://preview.redd.it/qqor3nt67m5d1.jpg?width=1387&format=pjpg&auto=webp&s=406d236323243909807a0a48f0c899dbd5321f22 |
2024.06.09 23:21 Informal_Patience821 I Just Noticed Rashad Khalifa totally fulfilled a prophecy!! Why has nobody noticed this?! 😖 - I'm in full blown shock right now! (Part 1)
يَسْـَٔلُونَكَ عَنِ ٱلسَّاعَةِ أَيَّانَ مُرْسَىٰهَا ۖ قُلْ إِنَّمَا عِلْمُهَا عِندَ رَبِّى ۖ لَا يُجَلِّيهَا لِوَقْتِهَآ إِلَّا هُوَ ۚ ثَقُلَتْ فِى ٱلسَّمَـٰوَٰتِ وَٱلْأَرْضِ ۚ لَا تَأْتِيكُمْ إِلَّا بَغْتَةًۭ ۗ يَسْـَٔلُونَكَ كَأَنَّكَ حَفِىٌّ عَنْهَا ۖ قُلْ إِنَّمَا عِلْمُهَا عِندَ ٱللَّهِ وَلَـٰكِنَّ أَكْثَرَ ٱلنَّاسِ لَا يَعْلَمُونَTranslation:
"They ask you about the Hour, 'When will it be?' Say, 'Its knowledge is only with my Lord. None reveals its due time except Him. It became heavy upon the heavens and the earth. It will not come upon you except suddenly.' They ask you as if you are well-informed about it. Say, 'Its knowledge is only with God, but most of the people do not know.'" (The Quran 7:187)The phrase: "يُجَلِّيهَا" (yujallihâ) is a verb in Arabic that means "he/she reveals it" or "he/she uncovers it." With "لَا" (Lâ) before it, it becomes a negated verb in the present tense and should be rendered as; "No one reveals it" The "it" here is the knowledge of "when," hence; "When will it be?' Say, 'Its knowledge is..."
ثَقُلَتْ فِى ٱلسَّمَـٰوَٰتِ وَٱلْأَرْضِ ۚWhich translates to:
"It became heavy upon the heavens and the earth"This implies that it (i.e. its knowledge) already was with them at that time because it "became/was heavy," which is a past tense statement in Arabic. During that particular time, only God knew (i.e. during the revelation of this verse), but its knowledge was within the Quran, embedded in it. Because what is it that became so heavy upon the heavens and the earth if not the knowledge of its timing? The topic of discussion is the knowledge of "when." It doesn't seem to be the event itself as it is speaking in past tense terms.
Phrase: يَسْـَٔلُونَكَ عَنِ ٱلسَّاعَةِ أَيَّانَ مُرْسَىٰهَا: They ask you about the Hour, "When will it be?"This is the only instance that seems to emphasize the actual event itself and not the knowledge of its timing:
Phrase: قُلْ إِنَّمَا عِلْمُهَا عِندَ رَبِّى: Say, "Its knowledge is with my Lord."
Phrase: لَا يُجَلِّيهَا لِوَقْتِهَآ إِلَّا هُوَ: None reveals its due time except Him.
Phrase: ثَقُلَتْ فِى ٱلسَّمَـٰوَٰتِ وَٱلْأَرْضِ: It became heavy (or "weighed heavy") upon the heavens and the earth.
Phrase: لَا تَأْتِيكُمْ إِلَّا بَغْتَةًۭ: It will not come to you except suddenly.
Phrase: يَسْـَٔلُونَكَ كَأَنَّكَ حَفِىٌّ عَنْهَا: They ask you as if you are well informed about it.
Phrase: قُلْ إِنَّمَا عِلْمُهَا عِندَ ٱللَّهِ: Say, "Its knowledge is with God."
Phrase: وَلَـٰكِنَّ أَكْثَرَ ٱلنَّاسِ لَا يَعْلَمُونَ: But most people do not know.
"It will not come to you except suddenly"So I don't really understand how some people see this verse as a rebuttal against Rashad's claim.
ٱللَّهُ ٱلَّذِىٓ أَنزَلَ ٱلْكِتَـٰبَ بِٱلْحَقِّ وَٱلْمِيزَانَ ۗ وَمَا يُدْرِيكَ لَعَلَّ ٱلسَّاعَةَ قَرِيبٌۭWhich translates to:
"It is God Who sent down the Book with the Truth and the Balance and whatever makes you know that the Hour might be near." (The Quran 42:17)The phrase: يُدْرِي (yudrī): "he/it makes know" (third person singular masculine).
"And what will make you perceive? Perhaps the Hour is near."All of their translations totally deviate grammatically. Also, removing the "," and "?" gives it a consistent flow. The entire sentence is a statement and all of it is connected to "it is Who sent down...":
"How can you tell? The Last Hour may well be near:"
"And what will make thee realise that perhaps the Hour is close at hand?"
"(Mine is) but a conveyance from God and His messages; and whoso disobeys God and His messenger, then for him is the fire of hell, wherein he will abide forever."The verse depicts Prophet Muhammad being directed by God to say this sentence, emphasizing that his task was solely a conveyance from God and His messages, which we all know to be the Quran. We are reminded that Prophet Muhammad's task not to interpret it (as the traditionalists claim). This is also what God explicitly says in 75:18-19. The chapter continues and reveals a crystal clear prophecy:
- 27: "Except who He has chosen of a messenger, for indeed he will follow a path from before him (i.e. before his time), and after him will be a (guarding) monitoring."
- 24: "Until when they see what they are promised, then they will know who is a weaker supporter and fewer in numbers."
- 25: "Say, 'I do not know whether that which you are promised is near, or my Lord has appointed for it a distant term.'
- 26: "[God is] the Knower of the Unseen, and He reveals unto none His unseen,"
"Verily that which ye are promised is true; And lo! The Judgment will indeed befall." (51:5-6)Many have totally missed this and I am a bit confused about how all of us could have missed it. I've googled a bit and haven't found anyone address this specific verse. When God says, "That which you are promised" in the Quran, it is usually the Hour that is being referred to.
Word: سَلَكَ • (salaka) I, non-past يَسْلُكُ (yasluku)Source: wiktionary.org
to follow a road, to wend, to travel along
to enter upon a course
to behave, to comport oneself
to proceed, to act
to set foot, to enter
(72:27:7) yasluku = makes to marchBut in other instances:
(16:69:6) fa-us'lukī = and follow (71:20:1) litaslukū = That you may go along (72:17:8) yasluk'hu = He will make him enterWhy this discrepancy? Why have they chosen, not the primary, not the secondary, but rather some quinary definition of this word here for this specific verse to say "March"? Because translating it faithfully exposes them and it would contradict their fabricated Hadiths.
إِلَّا (illâ):The phrase: "between his hands": Idiomatically meaning, "before him" i.e. a time before him.
Except
مَنِ (mani):
who
ٱرْتَضَىٰ (irtadâ):
He has chosen
مِن (min):
Of
رَّسُولٍۢ (rasûl):
a Messenger
فَإِنَّهُۥ (fa-innahu):
Then indeed, he
يَسْلُكُ (yasluku):
He will proceed upon a way/will follow a way, He will causes him to follow a way
مِنۢ (min):
From
بَيْنِ (bayni):
Between
يَدَيْهِ (yadayhi):
his hands
"...confirming that which was before him (lit: "between his hands") in the Torah." (The Quran 5:46)The last part of the verse (i.e. 72:28):
"...and after him will be a (guarding) observation/monitoring."The future tense "Will be" is added here because of what I've explained earlier.
"and behind him observers"This word comes from the root "ر-ص-د" (R-S-D), which carries the meaning of observing, monitoring or lying in wait. Edward William Lane (d. 1876) wrote in his Arabic-English lexicon (where he defines "رصد") that it implies (or could imply); "for the purpose of guarding," but it does not literally translate to "guards" in English. This word (i.e. Rasadan) can be translated as "a monitoring," "an observation," or "lying in wait," and one could add "guarding" in brackets for deeper clarification of its definition. The 9th verse of this chapter also uses this same word:
"angel-guards before and behind them"
"watchers to go in front and behind"
"guards who go before him and behind him"
"and a guard behind him"
"march before him and behind him,"
"watching guards (angels) to march before him and behind him."
"And we used to sit on places therein to listen. But he who listens now finds a flame in wait for him;" (72:9)But means "in wait" here because "...finds a flame in observation/monitoring for him." makes no sense.
(72:27:13) raṣadan = a guardWhile in other verses, they've rendered it (I would say somewhat) accurately:
(72:9:13) raṣadan= waitingSource: https://corpus.quran.com/qurandictionary.jsp?q=rSd#(72:27:13))
(78:21:4) mir'ṣādan = lying in wait
(89:14:3) labil-mir'ṣādi = (is) surely Ever Watchful
(9:5:14) marṣadin = place of ambush
(9:107:9) wa-ir'ṣādan = and (as) a station
2024.06.09 23:10 AllOutForNow (Offer) List (Request) Lists/Offers
2024.06.09 22:50 TitanAura The Struggles of Adapting Peak Fiction Under Strict Production Constraints
\"But why not do both?\" submitted by TitanAura to mushokutensei [link] [comments] This is a follow-up to my last post defending the anime's decision to cut content for the sake of pacing but let me give you the TL;DR so you don't feel the need to have read that one before this as this post covers the same bases (and then some): The anime is first-and foremost the story of Rudeus Greyrat and must therefore prioritize his perspective, even at the cost of other characters' moments, regardless of how beloved those individual scenes are to fans of the Light Novels (myself included). So let me start by addressing the strongest counter argument made in response to that post: "But the first season, and even Cour 1 of season 2 was able to maintain excellent pacing while having relatively few cuts! Why does the pacing in cour 2 still *FEEL* so rushed in comparison despite cutting so much?" That is an astute observation! And, quite frankly, you are asking the right questions. And for anyone planning to skip straight to the end of this admittedly \daunting* essay, here's a TL;DR for you: Episodes 19 & 20's reduced quality and heightened pace were done deliberately to provide the last 4 episodes of the season the space they need to breathe.* Continue reading if you want to find out how and why this had to be done. It would be a fool's errand to argue that Cour 2 is NOT cutting less content than prior cours (because it absolutely is, and by quite a lot too), nor will I be arguing that the cour does NOT suffer some level of pacing issues because it absolutely is (see first post), rather I will be arguing in defense of the purpose of limiting the scope of what gets adapted, and why such decisions are necessary in the first place. However, before I delve any further into the specifics of Cour 2's production struggles, first I should elaborate how its production schedule differs from S1. PART 1: Production Scheduling (aka setting the pace)In case you were unaware, Season 1 was originally slated to be released in 2020 but was delayed to January of 2021 so it could actually receive all of the extra care and polish it truly deserved. For S2, Studio Bind's production staff, by contrast, had to make due with the time they were initially given. More time (and consequently more budget) usually fixes most production issues, but very few (extraordinarily rare) series ever receive that benefit and doing so twice was likely never even considered a possibility.Sadly we are not in the alternate timeline where S2 benefitted from the same advantages that gave us gorgeous custom world-building OPs for every episode that freed up even more additional screen time for dialogue and character development (in some cases literally depicting entire chapters such as Paul's POV being shown during Ep 17's STUNNINGLY well executed OP montage). Thanks in part to that decision, S1 had significantly more wiggle room to work with, especially pertaining to the secondary cast, allowing it to more evenly adapt the world building, character development, and main narrative plotline of Mushoku Tensei as a whole utilizing that extra runtime (90 seconds per episode adds up to a LOT over the course of an entire season, plus the 5 EDs, that were integrated as needed on a per-episode basis, for an additional 7 1/2 minutes which adds up to a WHOPPING 43 1/2 MINUTES over the course of that 24 episode run and I should point out that S2 Cour 1 ALSO benefitted from this for the first 5 episodes including the OVA, giving that cour an added 9 minutes to utilize with Cour 2 receiving a paltry 3 minutes as only the 1st episode integrates the OP/ED runtime). It's simply the reality that polish and quality was prioritized for S1 while scheduling and budget were prioritized for S2. If you want to be especially harsh, one could say S1 was treated as art, while S2 was treated as a commercial product, which is why I've set my expectations accordingly and hope this post helps others do the same. This becomes more apparent when you take into consideration that Studio Bind were also working on Onimai at the same time as S2 given their air dates were only 6 months apart. So not only was S2 not being given the same scheduling priority, it was COMPETING for resources. Given the BD sales numbers for every project they've released, at a minimum we can be assured that Studio Bind has been financially successful at least but the double edged nature of that success also means that certain priorities may have shifted away from MT and towards the new cash-cow. There's a reason I phrased my previous post so specifically: These episodes are a fine adaptation of Rudy's story.... and not much else because it simply doesn't have the screen time or resources to focus on anything besides Rudy's share of the narrative and character development. Which ties directly into the second reason as to why cour 2 FEELS so rushed, even in comparison to cour 1. The contents of Volumes 10, 11, and 12 are significantly more *LINEAR\* with more individual events being depicted compared to Volumes 1-9. This translates to more content vying for screen time. But how much content are we talking about here? Well, I don't want to go too deeply into raw numbers as that's not really the point but let's set a baseline with some quick-n-dirty math to illustrate: S1c1 covers 1326 pg / 3 = 442 pg/vol (11 episodes) = 40.2 pg / ep S1c2 covers 1280 pg / 3 = 427 pg/vol (12 episodes + OVA) = 32.8 pg / ep S2c1 covers 1268 pg / 3 = 423 pg/vol (12 episodes + OVA) = 32.5 pg / ep S2c2 covers 1381 pg / 3 = 460 pg/vol (12 episodes) = 38.3 pg / ep Obviously these are EXTREMELY rough numbers that don't take into account any of the cut content, non-chapter related pages, nor the difference in available runtime afforded to S1 that I previously mentioned, but just by raw page count, that's technically LESS content than what the first 11 episodes of Season 1 had to adapt! Surely they could just tweak a few things to make everything fit! Unfortunately, it's not that simple. You see, there's a distinct lack of a certain type of content that made the lives of the production staff significantly easier by providing plenty of opportunities to pick and choose what made it into the final cut of an episode's runtime to keep the mainline story of Rudeus chugging along at the leisurely clip we're accustomed to. PART 2: Narrative Fluff (aka work smarter, not longer)Spoiler: It's the sheer density of secondary character POVs. The very ones we often grieved being cut as the episodes were coming out during S1. They add depth and complexity to the characters (and are, imho, singularly the most *profoundly insightful* pieces of writing Rifujin-sensei has ever produced) but 90% of the time are simply repeating the same events from a new perspective. HOWEVER, when adapted to an audio-visual medium, you can SHOW both perspectives simultaneously and let the audience infer what's going on in a secondary character's mind through the use of voice acting, animation, staging, lighting, OST, and sound design thereby allowing the anime-only audience to receive 90% of the same information that was conveyed during those same events in the novels.The "missing" Eris POV is the primary example of this disconnect between how little LN readers think Anime-onlys are inferring and how much is being successfully communicated to them even if they themselves can't properly articulate what it was they took away from any particular scene. I highly recommend paying close attention to Eris' face in the 3 following episodes after the events of Turning Point 2 RATHER THAN READING THE SUBTITLES (dub watchers have an advantage here but BOTH performances do an incredible job) and you'll see (and hear) what I'm talking about. Sure we don't get every beat of her thought process spelled out for us in quite the same level of detail as in her POV chapter, but you can sense her inner conflict while watching Rudeus practice Disturb Magic as they ride into the outskirts of Fittoa and her heartache at seeing him standing forlornly in the ruins of his destroyed childhood home. The idea that she doesn't feel "worthy" of him is already being communicated by her facial expressions and her body language. Her letter stating how they aren't "well-balanced" in combination with that visual information is already providing context clues to the viewer as to what's going on in her head. In her final scene you can hear the sheer depth of her love give way to a deeply instilled sense of self-loathing, just by the tone of her voice, as she hoists Rudeus up onto that pedestal. Yet as she nears the end of her melancholic monologue more of that brash, passionate nature of hers seeps back into her delivery as pours her heart out. To quote Harry Plinkett: "It's so subtle, you might not have even noticed... but your brain did." The only emotion you could argue was nerfed by the adaptation is the depths of her self-loathing for having "taken advantage of him" after their night together but they still get a line in about their age and size difference, which when heard in her self-flagellating tone describing how "awful" she's been to him, you can easily make that inference. But you might also say "AHA even in those 3 episodes they left out how devastated she was when Rudy beat her using the demon eye after she finally gained some confidence in her strength" to which I say: Watch Ep 13: Missed Connections and, again, pay attention to Eris. Every part off the Buffalo was used. They also never deliberately spell out her ardent belief that Rudeus is so strong and smart and amazing and brave and perfect that regardless of whatever she wrote as she struggled to find the words to leave in her letter, he would just clairvoyantly understand her intentions.... but you don't really NEED that spelled out for you when her final appearance is her shouting to the high heavens about how in love she is directly juxtaposed with Rudeus reverting to his former self-image shut away in his bedroom after very specifically misunderstanding the meaning of her words and actions! "I LOVE THIS MAN she screams as the man she loves thinks to himself "I can't believe she doesn't love me anymore." Seeing that, anyone could conclude "Were you expecting him to just KNOW what you meant??" Yes. Yes she was. The Eris' POV wasn't "skipped content"... it was integrated. It's broken up and repurposed in bits and pieces over the course of 4, count 'em, FOUR separate episodes but 99% of it is there if you know what to look for (which for anime onlys is considered rewatch value). By going through this in such agonizing detail I hope I'm properly communicating one of the greatest hang ups LN readers seem to have (or adaptational purists in general) relative to their expectations: You are putting entirely too much value into dialogue, monologue, and the text of a script relative to every other element the medium has to offer. The absence of TEXT does not diminish the SUBTEXT. An individual viewer might not know WHY they believe a character motivation exists as it does, but by and large most will pick up on those details whether it be deliberate (in the case of a certain psychologist youtuber who keeps nailing plot predictions over and over BECAUSE ALL OF THE INFORMATION YOU NEED IS RIGHT, THE F**K, THERE) or subconsciously (in the case of most passive audience members). PART 1 (COUR 2): THE RESCHEDULENING (aka MATH)Now, having detailed how a POV chapter can actually be efficiently absorbed into the runtime of the show without disrupting or sidetracking the main narrative, let's re-examine the topic of how (as well as why) this affects the production schedule. As I previously stated, overall Volume 1-9 have quite a number of POV chapters to work around as buffers to the rest of the content. Don't believe me? Let me break it down a bit more then:Vol 1 contains ~ 2 1/2 POV chapters out of 10 = 25% Vol 2 contains ~ 2 3/4 POV chapters out of 11 = 25% Vol 3 contains ~ 1 POV chapters out of 15 = 6.5% (one of the longer action heavy volumes, yet only 3 eps) On average ~19% of content is POV. Vol 4 contains ~ 2 1/4 POV chapters out of 12 = 19% Vol 5 contains ~ 4 POV chapters out of 11 = 36% Vol 6 contains ~ 2 1/4 POV chapters out of 15 = 15% On average ~23% of content is POV. Vol 7 contains ~ 1 1/4 POV chapters out of 8 (technically 9, short prologue + epilogue combined) = 15.5% Vol 8 contains ~ 2 POV chapters out of 12 = 17% Vol 9 contains ~ 3.75 POV chapters out of 12.5 (several very short POVs, adjusted for fairness) = 30% On average ~21% of content is POV. Vol 10 contains ~ 2 POV chapters out of 14 = 14% Vol 11 contains ~ 2 POV chapters out of 16 = 12.5% Vol 12 contains ~ 1 1/2 POV chapters out of 16 = 9% On average ~12% of content is POV. \Note* Several chapters are not purely dedicated to secondary character POVs but rather "cut aways" between Rudy's own perspective and are occasionally EXTREMELY short (I assigned 1/4 amounts for especially short POVs to give them weight, but to prevent over-representing them. Additionally while chapters vary in length they generally represent individual events which I feel is a more apt form of measurement to relate to the anime adaptation in place of page counts (you're not gonna find the table of contents, copyrights, or the author's afterward being adapted after all). These are VERY rough estimations and should not be taken as "objective" measurements.)) Look at that proportional difference for Volume 10-12 relative to the other cours. While production had the advantage of consistently folding a little more than 1/5 of the content into the current runtime the current cour has almost 10% more content competing for the same amount of screen time as the cour before it. In fact, it's significantly LESS screen time as only the 1st episode bypassed the OP/ED compared to Cour 1's 4 episodes (and if you include the OVA, cour 1 already had a 24 minute head start in addition to the extra 3 per ep for a whopping total of 36 extra minutes of runtime over cour 2), Even if we're exceedingly generous and assume the next 4 episodes skip the OP/ED each, that would still leave it at a 24 minute disadvantage just in comparison to cour 1, not to mention the additional screen time afforded to S1 as I've already covered. Part 3: Screen Time as a Resource (aka Content / Time = Stress)In a novel characters can engage in chapter length diatribes or strategic planning in their own heads, engage in "talking is a free action" whilst in a fight to the death, and all sorts of ridiculous temporal bending contrivances that simply do not translate to the screen where time is the single most precious commodity (unless you're a shonen protagonist charging up your kamehameha). So let's view this from the scriptwriters' perspective to understand why they are forced to make some very difficult choices. As you are starting work on your assigned episode(s), the show's production committee makes the call that while previously you were afforded as much as ~300 minutes (5 hours) to convey ~1K pages of material, this time you only get ~255 minutes (4 1/4 hours) to convey ~1200 pages of the same density of material. Much more information to convey in much less time and you only JUST BARELY scrapped by to include as much as you could the last 3 times. That's means that at a MINIMUM, 200 of those pages are destined for the cutting room floor.Though speaking of shounen protagonists, action set pieces are extraordinarily useful for either expanding OR condensing a scene's runtime by exactly as much as you need to fit within an episode's runtime. Need to add time? Go balls-to-the-wall, high-octane, budget-melting sakuga insanity that outshines even the source material (Turning Point 2/Eris vs Assassins) or you can condense high page counts into surprisingly short runtimes while still conveying the impact and information stored in those several pages worth of text. High impact, malleable screen time, same information conveyed. More time to dedicate to world building and secondary character development. As such, S1 (cour 2 especially) had a TREMENDOUS amount of leeway in how much they wished to expand OR condense action scenes at their discretion compared to the (comparatively) action-lite S2 (for Cour 1 at least). So then you might ask with Cour 2 revving up the action again, why is it instead CUTTING tons of those action scenes rather than merely truncating them to make space for dialogue scenes like the prior cours? The short answer is there's already no time to spare. The longer, more complex answer is action scenes can't exist in a vacuum. In the same way you have to accelerate and decelerate in your car evenly to get from point A to point B safely, you can't simply hit 0-60 mph in under 2 seconds and you certainly can't go from 60 to 0 in a fraction of a second unless you want an episodes' pacing to liquify like your internal organs. Before, during, and sometimes after a fight scene is initiated, several questions need to be answered for the audience like "Who/what is fighting?" "Where are they positioned?" "What is the level of threat?" "What are the stakes?" "What are the win conditions?" with greater or fewer questions depending on the complexity of the scene or it's meaning to the character(s). Failing to provide the audience adequate answers to these questions can easily result in a nonsensical farce.... unless that's literally your intention. Thankfully, the requirement for winding down action is much simpler. After a beat of heightened tension, your protagonist simply lowers their guard/weapon and the message communicated to the audience is "the threat is over" and within seconds you can move to the next scene. Most major encounters follow this rhythm throughout the series, with individual chapters dedicated solely to these fights, spanning page counts that are generally (but not always) on the higher end. In general, there are only 1-2 major battles per volume. Vol 11 and 12, by contrast, have several chapters that contain a half dozen individual skirmishes apiece that make adapting the material a total NIGHTMARE to pick and choose what makes the cut. So as an example, a weirdly high amount of time is seemingly spent establishing the succubus encounter in ep 19. Why you may ask? So they could ride those same rules of engagement straight into the following montage to inform the audience "these fights possess the same rules of engagement we just established" without having to spend the additional time winding up each one individually (another, more humorous example, is Ruijerd "dueling" the 3 North God students in a row). The montage also pulls double duty by conveying both the passage of time and distance. You'd think truncating roughly 1/5 of the entire volume into a scant 60 seconds would give them plenty of extra time to work with, but sadly, the ability to condense content is still only enough to break even with the established pace. Another major element that placed Season 2 at a massive disadvantage is that Season 2 had to use it's precious 25th episode OVA to *catch up* on content that was deferred from Season 1 as Sylphy's POV chapters starting all the way back in Vol 4 did not make the cut. So rather than getting a jump start, the OVA was actually just catching up on deferred content that could not be included DESPITE all of the tremendous advantages I've previously discussed. And even then, it still needed to skip all but a few scant details from the intervening chapters that bridge the gap between Sylphy becoming Silent Fitz and Ariel's entire entourage fleeing to Ranoa's University of Magic resulting in all but 5 of them being slaughtered by assassins in hideously gruesome fashion. In a nutshell, Season 2 actually only has 24 episodes to dedicate to itself, and most of the benefits of scheduling seems to have heavily favored Cour 1 over Cour 2. At this point, assuming like everyone else who joined up with Studio Bind, you are yourself a massive fan of the series and absolutely love these novels, you are effectively being asked to CHOOSE your favorite And frankly, Vol 12 has some INTENSELY heavy dialogue/monologue scenes filing out the back half of the volume that are going to need significantly more screen time to convey the necessary information relative to the first half as it is ENTIRELY Rudy-centric. So the only way to get there with enough time to allow the season to reach a natural and satisfying conclusion and still hit all of the vitally necessary plot threads is to put those proverbial chapter babies containing some of your favorite character interactions and world building on the alter as a ritual sacrifice for more time on the clock. And what did those sacrifices get you? 5 episodes. A range of 105-117 minutes (depending on OP/ED usage) of screen time to cover the single densest volume since vol 3 (see above). Barely one episode ahead of pace (but in terms of available screen time still barely ahead) of prior cours. And if you think it's unfortunate that ACTION was being cut, oh lordy I have some *bad news for you.\* Part 4: Screenwriting as an Artform (aka how write story gud)"But why are they STILL so stretched for time if they have access to and are utilizing all of these time-saving techniques?" Well I'm hoping the previous 3 parts of this gargantuan multi-tiered super essay have helped establish the constraints Studio Bind are working under compared to the prior cours. Cour 2 is working with significantly LESS screen time, with MORE events to manage and they're already so stretched for time that even multi-chapter spanning story events like the Merchant caravan are being cut entirely, rather than merely abridged, to make up that difference.The requirement for "essential viewing" grows ever higher as mundane scenes like coming in and out of the teleporter still HAVE to be given priority over fan-beloved moments of character development because as uninteresting as those kinds of expository, utilitarian scenes are, they serve a far more vital purpose in a screenplay for communicating to the audience the "BUT, THEREFORE, BECAUSE" flow of script writing (watch the video it's extremely short and a great explainer, but essentially "But = Complication", "Therefore = Next logical action", "Because = Character motivation for performing said action"). You literally cannot skip these unremarkable, bog standard scenes because doing so would commit one of the deadliest sins of storytelling that I was alluding to when discussing how to establish action scenes: The Discontinuity of the dreaded "AND THEN" statement. If you're watching a movie and it's a series of "and then this happened and then that happened and then this person showed up" it ceases to be less a story so much as watching someone's attention span annihilating slideshow of vacation photographs. As an example, scenes like the ones that establish how, where, and why Rudy and Elinalise use the teleporter to get from Ranoa to Begaritt are slow, mundane, and heavily time consuming and yet are so absolutely necessary as a scriptwriter to take the time to make sure the audience can follow along the logical thru-line for how these scenes connect to one another. If you skip such seemingly trifling, yet necessary information, the audience is not going to react by saying "oh THAT SCENE I LOVE is coming up" but rather "wait, why are we in a desert?" As an example I'll use the last 2 episodes to demonstrate. The logical flow of episode 19 into 20 proceeds as follows (some parts are truncated for *relative* brevity): "Rudy needs to leave for Rapan. THEREFORE he tells everyone goodbye, BUT Nanahoshi knows how to teleport there. THEREFORE he changes his route with Elinalise. THEREFORE they get prepared BECAUSE they want to save Zenith, BUT Cliff proposes to Elinalise BECAUSE he feels his lack of commitment was making her nervous. THEREFORE Elinalise is caught off guard BECAUSE she originally intended to leave without telling him to break off their relationship. THEREFORE she accepts his proposal. THEREFORE they travel to the teleporter, BUT teleporters are considered a source of danger to adventurers. THEREFORE they study it first as a safety precaution. THEREFORE they verify it's safe operation and use it. THEREFORE they arrive in Begaritt, BUT they are attacked by a Succubus. THEREFORE Rudy needs to detox himself BECAUSE they want to keep their promise to Cliff and Sylphy. THEREFORE they continue their sexless journey, BUT they are attacked several more times. THEREFORE they kill the monsters and proceed with caution. THEREFORE they arrive in Rapan in ~6 weeks. THEREFORE Geese is surprised to see them when they arrive, BECAUSE he only sent the letter so recently. THEREFORE he takes them to see Paul. THEREFORE they reunite with Paul, BUT Paul has fallen back into depression BECAUSE they lost Roxy while failing to find Zenith. THEREFORE Rudy tells Paul about his marriage and pregnancy with Sylphy. THEREFORE Paul recovers BECAUSE of the joy and pride he feels for his son BUT still feels worthless BECAUSE of his failures. THEREFORE Paul finally notices Elinalise. THEREFORE he apologizes BECAUSE ....uh y'know that thing that happened. THEREFORE Paul and Elinalise reconcile BUT Paul is confused that she didn't sleep with Rudy BECAUSE of her curse. THEREFORE she explains her husband Cliff's magic tool BUT Paul can't believe she has a husband. THEREFORE they get into another spat BUT the rest of the party returns during their argument THEREFORE Rudy learns that Roxy is lost in the labyrinth. THEREFORE Rudy starts to panic as the party begins to squabble. THEREFORE Elinalise takes Rudy's shoulder to draw his attention BECAUSE she realized he was panicking. THEREFORE Rudy asks to be caught up on the situation. THEREFORE Paul describes the difficulty of the Teleportation Labyrinth. THEREFORE Rudy gives Geese the book detailing it's depths which he borrowed BECAUSE he would be using a teleporter to get to Begaritt, BUT it will take Geese time to read it. THEREFORE Paul calls the meeting to a close to allow Geese to adjust their strategy using the book. THEREFORE Rudy, Paul, and Lilia start talking, BUT Paul is still a crude dude. THEREFORE the topic turns to sex BUT Lilia is in denial about being a total sex freak. THEREFORE Paul teases her BECAUSE he knowns how much she likes it rough. THEREFORE they retire for the night after some locker room talk. THEREFORE they depart for the labyrinth the following day. THEREFORE they reach the labyrinth and begin their descent, BUT Paul is breaking formation to show off in front of Rudeus. THEREFORE Elinalise scolds him, BECAUSE she wants to keep her family safe. THEREFORE Paul flippantly dismisses her claims of thinking of him like a son, BUT he is unaware of their connection through Sylphy. THEREFORE they continue further into the Labyrinth maintaining their formation, BUT they encounter new monsters. THEREFORE Rudy starts to cast a spell, BUT Talhand advises him not to use fire BECAUSE it fills a room with poison BECAUSE the concept of carbon monoxide poisoning exists but isn't fully understood in this universe BUT he also advices not attacking the ceiling BECAUSE it could cause a cave-in. THEREFORE Rudy uses ice magic to kill the remaining monsters. THEREFORE they advance to the second stratum in proper formation. THEREFORE they breeze through the second formation and take a break before entering the third. THEREFORE Geese uses the opportunity to inform Rudy that the next section is where Roxy went missing and may still be near that area BECAUSE teleporter traps only warp victims within the same stratum. THEREFORE as they approach where they lost Roxy, Geese asks Rudy where he'd look for Roxy based on his intuition. AND THEN Using his intuition, Rudy notices condensation on a wall and uses his Roxy Odor Snoof Sense to detect Roxy's location through a damn wall despite being a contrivance BUT it's the same contrivance used in the source material THEREFORE shut up. THEREFORE we cut to Roxy BUT she's being surrounded by monsters. THEREFORE she casts numerous spells to hold them at bay, BUT she runs out of mana. THEREFORE she believes she's about to die BUT Rudy saves her just in the nick of time. THEREFORE Roxy is shaken to her core at the sight of the man who saved her despite not recognizing Rudy, BUT then her POV didn't play out the way it did in the novels THEREFORE LN purists got upset BECAUSE they assumed her POV had been cut BUT they forgot that Roxy's POV has always been shown tremendous favoritism by Studio Bind THEREFORE they jumped to conclusions unaware it would happen the following episode. THEREFORE Calm down and let Studio Bind cookEffectively the point I hope I have demonstrated is that there IS a logical and consistent thru-line from scene to scene to scene that an audience can follow (and if you want to improve as a screenwriter, this is a GREAT exercise to figure out what makes your favorite shows tick. It's basically the screenwriter's equivalent to tracing someone else' art as practice). Even these unfairly maligned episodes have a viewing experience that provides a consistent sense of pacing. But if you want to know WHAT precisely feels different about them? Well if I had chosen to break down episodes from any of the prior 3 cours (or the best episodes of this cour), you'd be seeing the word BECAUSE significantly more to fill out every action, reaction, and complication along the way. If "THEREFORE" and "BUT" are the easel and canvas, which are necessary to even begin the process of creating art, then "BECAUSE" is the screenwriter's paintbrush that allows them to breathe life and detail into the characters on screen. The prior 3 cours were awash with "BECAUSE" statements detailing why characters are behaving the way they are in every individual scene so if there's one crime that can legitimately be pinned against several episodes in the latest cour, it's "JUST 'CUZ."PART FINAL: The TL;DR (aka the... tl;dr)So having laid all this out in such verbose, granular detail, what exactly does all of this mean?To put it bluntly, Season 1 being such a near-perfect masterwork of adaptation spoiled the ever loving hell out of us. Having gorged ourselves on that expectation, we've ruined our appetites because now such perks are simply anticipated as standard with a vocal minority now irked by the use of a standard OP simply because it follows the conventions of the medium or (stay with me here) committing the sin of appealing to shonen fans. I know, truly a crime worthy of sudoku because of 14 seconds depicting one of the single most important events in the series. I truly don't understand (seriously, explain it to me please). The current cour is merely receiving the same treatment most adaptations are given while still outperforming its peers if weekly rankings are anything to go by. Episodes range from pretty good to excellent (Norn and Nanahoshi's spotlight eps being the highlights thus far despite some grumbling) with even the extremely barebones Ep 19 squeezing in what sparse worldbuilding nuggets it can despite the plot literally necessitating that Rudy book it from one side of the planet to the other within a 21 minute period (a production level pacing decision you are still free to criticize). As I said earlier (but it bears repeating) these episodes are a good adaptation of Rudy's story rather than the whole that makes up MT because it simply doesn't have the screen time to focus on anything that falls outside the scope of his perspective given the sheer breadth of competing narrative essential content. As a show, these episodes are still delivering a cohesive and engaging thru-line by being glued to Rudy's perspective. So as long as Rudy remains interesting to watch the audience will be more than satisfied. Expecting the same anomalous level of dedication AND leniency from the production committee to happen for every season was unfortunately nothing but a pipe dream. Cour 2 is now being forced to make due with what it has and while they are doing a commendable job given the heavy restrictions, it is completely unreasonable to expect them to fit so much into such tight confines. It is the adaptation equivalent of being asked to fit everything into one grocery bag, but not wanting the bag to be heavy. Could this cour have been scheduled better? Absolutely. Was it possible certain changes to the script or episode direction could have provided more opportunities to explore the cut content? Of course. Is it still a total bummer that the realities of production that have compromised the artistic integrity of our beloved peak fiction? Without a doubt. We are simply going to have to get used to the fact that S1 may never be topped with our only hope being the return of the waifu-wars for S3 rekindles the beefs between animators vying for shot assignments (which may hopefully still be in the cards god willing). Of course, I'm not a future seer, so maybe, just maybe, Studio Bind bursts into flames and all of the footage is lost resulting in the quality of the last 3 episodes to be the worst drop off of a television show since the final season of Game of Thrones. If that is the case then I'll be eating more crow than I ever have in my life. But if Studio Bind sticks the landing and delivers on the emotional climax to one of the most beloved arcs among the fanbase that we've anticipated for years, then please calm it down with these exaggerated "cutting content is ruining the show" claims. Thank you from coming to my Ted Talk and enjoy the rest of the season everyone. |
2024.06.09 22:46 TitanAura The Struggles of Adapting Peak Fiction Under Strict Production Constraints
\"But why not do both?\" submitted by TitanAura to sixfacedworld [link] [comments] This is a follow-up to my last post defending the anime's decision to cut content for the sake of pacing but let me give you the TL;DR so you don't feel the need to have read that one before this as this post covers the same bases (and then some): The anime is first-and foremost the story of Rudeus Greyrat and must therefore prioritize his perspective, even at the cost of other characters' moments, regardless of how beloved those individual scenes are to fans of the Light Novels (myself included). So let me start by addressing the strongest counter argument made in response to that post: "But the first season, and even Cour 1 of season 2 was able to maintain excellent pacing while having relatively few cuts! Why does the pacing in cour 2 still *FEEL* so rushed in comparison despite cutting so much?" That is an astute observation! And, quite frankly, you are asking the right questions. And for anyone planning to skip straight to the end of this admittedly \daunting* essay, here's a TL;DR for you: Episodes 19 & 20's reduced quality and heightened pace were done deliberately to provide the last 4 episodes of the season the space they need to breathe.* Continue reading if you want to find out how and why this had to be done. It would be a fool's errand to argue that Cour 2 is NOT cutting less content than prior cours (because it absolutely is, and by quite a lot too), nor will I be arguing that the cour does NOT suffer some level of pacing issues because it absolutely is (see first post), rather I will be arguing in defense of the purpose of limiting the scope of what gets adapted, and why such decisions are necessary in the first place. However, before I delve any further into the specifics of Cour 2's production struggles, first I should elaborate how its production schedule differs from S1. PART 1: Production Scheduling (aka setting the pace)In case you were unaware, Season 1 was originally slated to be released in 2020 but was delayed to January of 2021 so it could actually receive all of the extra care and polish it truly deserved. For S2, Studio Bind's production staff, by contrast, had to make due with the time they were initially given. More time (and consequently more budget) usually fixes most production issues, but very few (extraordinarily rare) series ever receive that benefit and doing so twice was likely never even considered a possibility.Sadly we are not in the alternate timeline where S2 benefitted from the same advantages that gave us gorgeous custom world-building OPs for every episode that freed up even more additional screen time for dialogue and character development (in some cases literally depicting entire chapters such as Paul's POV being shown during Ep 17's STUNNINGLY well executed OP montage). Thanks in part to that decision, S1 had significantly more wiggle room to work with, especially pertaining to the secondary cast, allowing it to more evenly adapt the world building, character development, and main narrative plotline of Mushoku Tensei as a whole utilizing that extra runtime (90 seconds per episode adds up to a LOT over the course of an entire season, plus the 5 EDs, that were integrated as needed on a per-episode basis, for an additional 7 1/2 minutes which adds up to a WHOPPING 43 1/2 MINUTES over the course of that 24 episode run and I should point out that S2 Cour 1 ALSO benefitted from this for the first 5 episodes including the OVA, giving that cour an added 9 minutes to utilize with Cour 2 receiving a paltry 3 minutes as only the 1st episode integrates the OP/ED runtime). It's simply the reality that polish and quality was prioritized for S1 while scheduling and budget were prioritized for S2. If you want to be especially harsh, one could say S1 was treated as art, while S2 was treated as a commercial product, which is why I've set my expectations accordingly and hope this post helps others do the same. This becomes more apparent when you take into consideration that Studio Bind were also working on Onimai at the same time as S2 given their air dates were only 6 months apart. So not only was S2 not being given the same scheduling priority, it was COMPETING for resources. Given the BD sales numbers for every project they've released, at a minimum we can be assured that Studio Bind has been financially successful at least but the double edged nature of that success also means that certain priorities may have shifted away from MT and towards the new cash-cow. There's a reason I phrased my previous post so specifically: These episodes are a fine adaptation of Rudy's story.... and not much else because it simply doesn't have the screen time or resources to focus on anything besides Rudy's share of the narrative and character development. Which ties directly into the second reason as to why cour 2 FEELS so rushed, even in comparison to cour 1. The contents of Volumes 10, 11, and 12 are significantly more *LINEAR\* with more individual events being depicted compared to Volumes 1-9. This translates to more content vying for screen time. But how much content are we talking about here? Well, I don't want to go too deeply into raw numbers as that's not really the point but let's set a baseline with some quick-n-dirty math to illustrate: S1c1 covers 1326 pg / 3 = 442 pg/vol (11 episodes) = 40.2 pg / ep S1c2 covers 1280 pg / 3 = 427 pg/vol (12 episodes + OVA) = 32.8 pg / ep S2c1 covers 1268 pg / 3 = 423 pg/vol (12 episodes + OVA) = 32.5 pg / ep S2c2 covers 1381 pg / 3 = 460 pg/vol (12 episodes) = 38.3 pg / ep Obviously these are EXTREMELY rough numbers that don't take into account any of the cut content, non-chapter related pages, nor the difference in available runtime afforded to S1 that I previously mentioned, but just by raw page count, that's technically LESS content than what the first 11 episodes of Season 1 had to adapt! Surely they could just tweak a few things to make everything fit! Unfortunately, it's not that simple. You see, there's a distinct lack of a certain type of content that made the lives of the production staff significantly easier by providing plenty of opportunities to pick and choose what made it into the final cut of an episode's runtime to keep the mainline story of Rudeus chugging along at the leisurely clip we're accustomed to. PART 2: Narrative Fluff (aka work smarter, not longer)Spoiler: It's the sheer density of secondary character POVs. The very ones we often grieved being cut as the episodes were coming out during S1. They add depth and complexity to the characters (and are, imho, singularly the most *profoundly insightful* pieces of writing Rifujin-sensei has ever produced) but 90% of the time are simply repeating the same events from a new perspective. HOWEVER, when adapted to an audio-visual medium, you can SHOW both perspectives simultaneously and let the audience infer what's going on in a secondary character's mind through the use of voice acting, animation, staging, lighting, OST, and sound design thereby allowing the anime-only audience to receive 90% of the same information that was conveyed during those same events in the novels.The "missing" Eris POV is the primary example of this disconnect between how little LN readers think Anime-onlys are inferring and how much is being successfully communicated to them even if they themselves can't properly articulate what it was they took away from any particular scene. I highly recommend paying close attention to Eris' face in the 3 following episodes after the events of Turning Point 2 RATHER THAN READING THE SUBTITLES (dub watchers have an advantage here but BOTH performances do an incredible job) and you'll see (and hear) what I'm talking about. Sure we don't get every beat of her thought process spelled out for us in quite the same level of detail as in her POV chapter, but you can sense her inner conflict while watching Rudeus practice Disturb Magic as they ride into the outskirts of Fittoa and her heartache at seeing him standing forlornly in the ruins of his destroyed childhood home. The idea that she doesn't feel "worthy" of him is already being communicated by her facial expressions and her body language. Her letter stating how they aren't "well-balanced" in combination with that visual information is already providing context clues to the viewer as to what's going on in her head. In her final scene you can hear the sheer depth of her love give way to a deeply instilled sense of self-loathing, just by the tone of her voice, as she hoists Rudeus up onto that pedestal. Yet as she nears the end of her melancholic monologue more of that brash, passionate nature of hers seeps back into her delivery as pours her heart out. To quote Harry Plinkett: "It's so subtle, you might not have even noticed... but your brain did." The only emotion you could argue was nerfed by the adaptation is the depths of her self-loathing for having "taken advantage of him" after their night together but they still get a line in about their age and size difference, which when heard in her self-flagellating tone describing how "awful" she's been to him, you can easily make that inference. But you might also say "AHA even in those 3 episodes they left out how devastated she was when Rudy beat her using the demon eye after she finally gained some confidence in her strength" to which I say: Watch Ep 13: Missed Connections and, again, pay attention to Eris. Every part off the Buffalo was used. They also never deliberately spell out her ardent belief that Rudeus is so strong and smart and amazing and brave and perfect that regardless of whatever she wrote as she struggled to find the words to leave in her letter, he would just clairvoyantly understand her intentions.... but you don't really NEED that spelled out for you when her final appearance is her shouting to the high heavens about how in love she is directly juxtaposed with Rudeus reverting to his former self-image shut away in his bedroom after very specifically misunderstanding the meaning of her words and actions! "I LOVE THIS MAN she screams as the man she loves thinks to himself "I can't believe she doesn't love me anymore." Seeing that, anyone could conclude "Were you expecting him to just KNOW what you meant??" Yes. Yes she was. The Eris' POV wasn't "skipped content"... it was integrated. It's broken up and repurposed in bits and pieces over the course of 4, count 'em, FOUR separate episodes but 99% of it is there if you know what to look for (which for anime onlys is considered rewatch value). By going through this in such agonizing detail I hope I'm properly communicating one of the greatest hang ups LN readers seem to have (or adaptational purists in general) relative to their expectations: You are putting entirely too much value into dialogue, monologue, and the text of a script relative to every other element the medium has to offer. The absence of TEXT does not diminish the SUBTEXT. An individual viewer might not know WHY they believe a character motivation exists as it does, but by and large most will pick up on those details whether it be deliberate (in the case of a certain psychologist youtuber who keeps nailing plot predictions over and over BECAUSE ALL OF THE INFORMATION YOU NEED IS RIGHT, THE F**K, THERE) or subconsciously (in the case of most passive audience members). PART 1 (COUR 2): THE RESCHEDULENING (aka MATH)Now, having detailed how a POV chapter can actually be efficiently absorbed into the runtime of the show without disrupting or sidetracking the main narrative, let's re-examine the topic of how (as well as why) this affects the production schedule. As I previously stated, overall Volume 1-9 have quite a number of POV chapters to work around as buffers to the rest of the content. Don't believe me? Let me break it down a bit more then:Vol 1 contains ~ 2 1/2 POV chapters out of 10 = 25% Vol 2 contains ~ 2 3/4 POV chapters out of 11 = 25% Vol 3 contains ~ 1 POV chapters out of 15 = 6.5% (one of the longer action heavy volumes, yet only 3 eps) On average ~19% of content is POV. Vol 4 contains ~ 2 1/4 POV chapters out of 12 = 19% Vol 5 contains ~ 4 POV chapters out of 11 = 36% Vol 6 contains ~ 2 1/4 POV chapters out of 15 = 15% On average ~23% of content is POV. Vol 7 contains ~ 1 1/4 POV chapters out of 8 (technically 9, short prologue + epilogue combined) = 15.5% Vol 8 contains ~ 2 POV chapters out of 12 = 17% Vol 9 contains ~ 3.75 POV chapters out of 12.5 (several very short POVs, adjusted for fairness) = 30% On average ~21% of content is POV. Vol 10 contains ~ 2 POV chapters out of 14 = 14% Vol 11 contains ~ 2 POV chapters out of 16 = 12.5% Vol 12 contains ~ 1 1/2 POV chapters out of 16 = 9% On average ~12% of content is POV. \Note* Several chapters are not purely dedicated to secondary character POVs but rather "cut aways" between Rudy's own perspective and are occasionally EXTREMELY short (I assigned 1/4 amounts for especially short POVs to give them weight, but to prevent over-representing them. Additionally while chapters vary in length they generally represent individual events which I feel is a more apt form of measurement to relate to the anime adaptation in place of page counts (you're not gonna find the table of contents, copyrights, or the author's afterward being adapted after all). These are VERY rough estimations and should not be taken as "objective" measurements.)) Look at that proportional difference for Volume 10-12 relative to the other cours. While production had the advantage of consistently folding a little more than 1/5 of the content into the current runtime the current cour has almost 10% more content competing for the same amount of screen time as the cour before it. In fact, it's significantly LESS screen time as only the 1st episode bypassed the OP/ED compared to Cour 1's 4 episodes (and if you include the OVA, cour 1 already had a 24 minute head start in addition to the extra 3 per ep for a whopping total of 36 extra minutes of runtime over cour 2), Even if we're exceedingly generous and assume the next 4 episodes skip the OP/ED each, that would still leave it at a 24 minute disadvantage just in comparison to cour 1, not to mention the additional screen time afforded to S1 as I've already covered. Part 3: Screen Time as a Resource (aka Content / Time = Stress)In a novel characters can engage in chapter length diatribes or strategic planning in their own heads, engage in "talking is a free action" whilst in a fight to the death, and all sorts of ridiculous temporal bending contrivances that simply do not translate to the screen where time is the single most precious commodity (unless you're a shonen protagonist charging up your kamehameha). So let's view this from the scriptwriters' perspective to understand why they are forced to make some very difficult choices. As you are starting work on your assigned episode(s), the show's production committee makes the call that while previously you were afforded as much as ~300 minutes (5 hours) to convey ~1K pages of material, this time you only get ~255 minutes (4 1/4 hours) to convey ~1200 pages of the same density of material. Much more information to convey in much less time and you only JUST BARELY scrapped by to include as much as you could the last 3 times. That's means that at a MINIMUM, 200 of those pages are destined for the cutting room floor.Though speaking of shounen protagonists, action set pieces are extraordinarily useful for either expanding OR condensing a scene's runtime by exactly as much as you need to fit within an episode's runtime. Need to add time? Go balls-to-the-wall, high-octane, budget-melting sakuga insanity that outshines even the source material (Turning Point 2/Eris vs Assassins) or you can condense high page counts into surprisingly short runtimes while still conveying the impact and information stored in those several pages worth of text. High impact, malleable screen time, same information conveyed. More time to dedicate to world building and secondary character development. As such, S1 (cour 2 especially) had a TREMENDOUS amount of leeway in how much they wished to expand OR condense action scenes at their discretion compared to the (comparatively) action-lite S2 (for Cour 1 at least). So then you might ask with Cour 2 revving up the action again, why is it instead CUTTING tons of those action scenes rather than merely truncating them to make space for dialogue scenes like the prior cours? The short answer is there's already no time to spare. The longer, more complex answer is action scenes can't exist in a vacuum. In the same way you have to accelerate and decelerate in your car evenly to get from point A to point B safely, you can't simply hit 0-60 mph in under 2 seconds and you certainly can't go from 60 to 0 in a fraction of a second unless you want an episodes' pacing to liquify like your internal organs. Before, during, and sometimes after a fight scene is initiated, several questions need to be answered for the audience like "Who/what is fighting?" "Where are they positioned?" "What is the level of threat?" "What are the stakes?" "What are the win conditions?" with greater or fewer questions depending on the complexity of the scene or it's meaning to the character(s). Failing to provide the audience adequate answers to these questions can easily result in a nonsensical farce.... unless that's literally your intention. Thankfully, the requirement for winding down action is much simpler. After a beat of heightened tension, your protagonist simply lowers their guard/weapon and the message communicated to the audience is "the threat is over" and within seconds you can move to the next scene. Most major encounters follow this rhythm throughout the series, with individual chapters dedicated solely to these fights, spanning page counts that are generally (but not always) on the higher end. In general, there are only 1-2 major battles per volume. Vol 11 and 12, by contrast, have several chapters that contain a half dozen individual skirmishes apiece that make adapting the material a total NIGHTMARE to pick and choose what makes the cut. So as an example, a weirdly high amount of time is seemingly spent establishing the succubus encounter in ep 19. Why you may ask? So they could ride those same rules of engagement straight into the following montage to inform the audience "these fights possess the same rules of engagement we just established" without having to spend the additional time winding up each one individually (another, more humorous example, is Ruijerd "dueling" the 3 North God students in a row). The montage also pulls double duty by conveying both the passage of time and distance. You'd think truncating roughly 1/5 of the entire volume into a scant 60 seconds would give them plenty of extra time to work with, but sadly, the ability to condense content is still only enough to break even with the established pace. Another major element that placed Season 2 at a massive disadvantage is that Season 2 had to use it's precious 25th episode OVA to *catch up* on content that was deferred from Season 1 as Sylphy's POV chapters starting all the way back in Vol 4 did not make the cut. So rather than getting a jump start, the OVA was actually just catching up on deferred content that could not be included DESPITE all of the tremendous advantages I've previously discussed. And even then, it still needed to skip all but a few scant details from the intervening chapters that bridge the gap between Sylphy becoming Silent Fitz and Ariel's entire entourage fleeing to Ranoa's University of Magic resulting in all but 5 of them being slaughtered by assassins in hideously gruesome fashion. In a nutshell, Season 2 actually only has 24 episodes to dedicate to itself, and most of the benefits of scheduling seems to have heavily favored Cour 1 over Cour 2. At this point, assuming like everyone else who joined up with Studio Bind, you are yourself a massive fan of the series and absolutely love these novels, you are effectively being asked to CHOOSE your favorite And frankly, Vol 12 has some INTENSELY heavy dialogue/monologue scenes filing out the back half of the volume that are going to need significantly more screen time to convey the necessary information relative to the first half as it is ENTIRELY Rudy-centric. So the only way to get there with enough time to allow the season to reach a natural and satisfying conclusion and still hit all of the vitally necessary plot threads is to put those proverbial chapter babies containing some of your favorite character interactions and world building on the alter as a ritual sacrifice for more time on the clock. And what did those sacrifices get you? 5 episodes. A range of 105-117 minutes (depending on OP/ED usage) of screen time to cover the single densest volume since vol 3 (see above). Barely one episode ahead of pace (but in terms of available screen time still barely ahead) of prior cours. And if you think it's unfortunate that ACTION was being cut, oh lordy I have some *bad news for you.\* Part 4: Screenwriting as an Artform (aka how write story gud)"But why are they STILL so stretched for time if they have access to and are utilizing all of these time-saving techniques?" Well I'm hoping the previous 3 parts of this gargantuan multi-tiered super essay have helped establish the constraints Studio Bind are working under compared to the prior cours. Cour 2 is working with significantly LESS screen time, with MORE events to manage and they're already so stretched for time that even multi-chapter spanning story events like the Merchant caravan are being cut entirely, rather than merely abridged, to make up that difference.The requirement for "essential viewing" grows ever higher as mundane scenes like coming in and out of the teleporter still HAVE to be given priority over fan-beloved moments of character development because as uninteresting as those kinds of expository, utilitarian scenes are, they serve a far more vital purpose in a screenplay for communicating to the audience the "BUT, THEREFORE, BECAUSE" flow of script writing (watch the video it's extremely short and a great explainer, but essentially "But = Complication", "Therefore = Next logical action", "Because = Character motivation for performing said action"). You literally cannot skip these unremarkable, bog standard scenes because doing so would commit one of the deadliest sins of storytelling that I was alluding to when discussing how to establish action scenes: The Discontinuity of the dreaded "AND THEN" statement. If you're watching a movie and it's a series of "and then this happened and then that happened and then this person showed up" it ceases to be less a story so much as watching someone's attention span annihilating slideshow of vacation photographs. As an example, scenes like the ones that establish how, where, and why Rudy and Elinalise use the teleporter to get from Ranoa to Begaritt are slow, mundane, and heavily time consuming and yet are so absolutely necessary as a scriptwriter to take the time to make sure the audience can follow along the logical thru-line for how these scenes connect to one another. If you skip such seemingly trifling, yet necessary information, the audience is not going to react by saying "oh THAT SCENE I LOVE is coming up" but rather "wait, why are we in a desert?" As an example I'll use the last 2 episodes to demonstrate. The logical flow of episode 19 into 20 proceeds as follows (some parts are truncated for *relative* brevity): "Rudy needs to leave for Rapan. THEREFORE he tells everyone goodbye, BUT Nanahoshi knows how to teleport there. THEREFORE he changes his route with Elinalise. THEREFORE they get prepared BECAUSE they want to save Zenith, BUT Cliff proposes to Elinalise BECAUSE he feels his lack of commitment was making her nervous. THEREFORE Elinalise is caught off guard BECAUSE she originally intended to leave without telling him to break off their relationship. THEREFORE she accepts his proposal. THEREFORE they travel to the teleporter, BUT teleporters are considered a source of danger to adventurers. THEREFORE they study it first as a safety precaution. THEREFORE they verify it's safe operation and use it. THEREFORE they arrive in Begaritt, BUT they are attacked by a Succubus. THEREFORE Rudy needs to detox himself BECAUSE they want to keep their promise to Cliff and Sylphy. THEREFORE they continue their sexless journey, BUT they are attacked several more times. THEREFORE they kill the monsters and proceed with caution. THEREFORE they arrive in Rapan in ~6 weeks. THEREFORE Geese is surprised to see them when they arrive, BECAUSE he only sent the letter so recently. THEREFORE he takes them to see Paul. THEREFORE they reunite with Paul, BUT Paul has fallen back into depression BECAUSE they lost Roxy while failing to find Zenith. THEREFORE Rudy tells Paul about his marriage and pregnancy with Sylphy. THEREFORE Paul recovers BECAUSE of the joy and pride he feels for his son BUT still feels worthless BECAUSE of his failures. THEREFORE Paul finally notices Elinalise. THEREFORE he apologizes BECAUSE ....uh y'know that thing that happened. THEREFORE Paul and Elinalise reconcile BUT Paul is confused that she didn't sleep with Rudy BECAUSE of her curse. THEREFORE she explains her husband Cliff's magic tool BUT Paul can't believe she has a husband. THEREFORE they get into another spat BUT the rest of the party returns during their argument THEREFORE Rudy learns that Roxy is lost in the labyrinth. THEREFORE Rudy starts to panic as the party begins to squabble. THEREFORE Elinalise takes Rudy's shoulder to draw his attention BECAUSE she realized he was panicking. THEREFORE Rudy asks to be caught up on the situation. THEREFORE Paul describes the difficulty of the Teleportation Labyrinth. THEREFORE Rudy gives Geese the book detailing it's depths which he borrowed BECAUSE he would be using a teleporter to get to Begaritt, BUT it will take Geese time to read it. THEREFORE Paul calls the meeting to a close to allow Geese to adjust their strategy using the book. THEREFORE Rudy, Paul, and Lilia start talking, BUT Paul is still a crude dude. THEREFORE the topic turns to sex BUT Lilia is in denial about being a total sex freak. THEREFORE Paul teases her BECAUSE he knowns how much she likes it rough. THEREFORE they retire for the night after some locker room talk. THEREFORE they depart for the labyrinth the following day. THEREFORE they reach the labyrinth and begin their descent, BUT Paul is breaking formation to show off in front of Rudeus. THEREFORE Elinalise scolds him, BECAUSE she wants to keep her family safe. THEREFORE Paul flippantly dismisses her claims of thinking of him like a son, BUT he is unaware of their connection through Sylphy. THEREFORE they continue further into the Labyrinth maintaining their formation, BUT they encounter new monsters. THEREFORE Rudy starts to cast a spell, BUT Talhand advises him not to use fire BECAUSE it fills a room with poison BECAUSE the concept of carbon monoxide poisoning exists but isn't fully understood in this universe BUT he also advices not attacking the ceiling BECAUSE it could cause a cave-in. THEREFORE Rudy uses ice magic to kill the remaining monsters. THEREFORE they advance to the second stratum in proper formation. THEREFORE they breeze through the second formation and take a break before entering the third. THEREFORE Geese uses the opportunity to inform Rudy that the next section is where Roxy went missing and may still be near that area BECAUSE teleporter traps only warp victims within the same stratum. THEREFORE as they approach where they lost Roxy, Geese asks Rudy where he'd look for Roxy based on his intuition. AND THEN Using his intuition, Rudy notices condensation on a wall and uses his Roxy Odor Snoof Sense to detect Roxy's location through a damn wall despite being a contrivance BUT it's the same contrivance used in the source material THEREFORE shut up. THEREFORE we cut to Roxy BUT she's being surrounded by monsters. THEREFORE she casts numerous spells to hold them at bay, BUT she runs out of mana. THEREFORE she believes she's about to die BUT Rudy saves her just in the nick of time. THEREFORE Roxy is shaken to her core at the sight of the man who saved her despite not recognizing Rudy, BUT then her POV didn't play out the way it did in the novels THEREFORE LN purists got upset BECAUSE they assumed her POV had been cut BUT they forgot that Roxy's POV has always been shown tremendous favoritism by Studio Bind THEREFORE they jumped to conclusions unaware it would happen the following episode. THEREFORE Calm down and let Studio Bind cookEffectively the point I hope I have demonstrated is that there IS a logical and consistent thru-line from scene to scene to scene that an audience can follow (and if you want to improve as a screenwriter, this is a GREAT exercise to figure out what makes your favorite shows tick. It's basically the screenwriter's equivalent to tracing someone else' art as practice). Even these unfairly maligned episodes have a viewing experience that provides a consistent sense of pacing. But if you want to know WHAT precisely feels different about them? Well if I had chosen to break down episodes from any of the prior 3 cours (or the best episodes of this cour), you'd be seeing the word BECAUSE significantly more to fill out every action, reaction, and complication along the way. If "THEREFORE" and "BUT" are the easel and canvas, which are necessary to even begin the process of creating art, then "BECAUSE" is the screenwriter's paintbrush that allows them to breathe life and detail into the characters on screen. The prior 3 cours were awash with "BECAUSE" statements detailing why characters are behaving the way they are in every individual scene so if there's one crime that can legitimately be pinned against several episodes in the latest cour, it's "JUST 'CUZ."PART FINAL: The TL;DR (aka the... tl;dr)So having laid all this out in such verbose, granular detail, what exactly does all of this mean?To put it bluntly, Season 1 being such a near-perfect masterwork of adaptation spoiled the ever loving hell out of us. Having gorged ourselves on that expectation, we've ruined our appetites because now such perks are simply anticipated as standard with a vocal minority now irked by the use of a standard OP simply because it follows the conventions of the medium or (stay with me here) committing the sin of appealing to shonen fans. I know, truly a crime worthy of sudoku because of 14 seconds depicting one of the single most important events in the series. I truly don't understand (seriously, explain it to me please). The current cour is merely receiving the same treatment most adaptations are given while still outperforming its peers if weekly rankings are anything to go by. Episodes range from pretty good to excellent (Norn and Nanahoshi's spotlight eps being the highlights thus far despite some grumbling) with even the extremely barebones Ep 19 squeezing in what sparse worldbuilding nuggets it can despite the plot literally necessitating that Rudy book it from one side of the planet to the other within a 21 minute period (a production level pacing decision you are still free to criticize). As I said earlier (but it bears repeating) these episodes are a good adaptation of Rudy's story rather than the whole that makes up MT because it simply doesn't have the screen time to focus on anything that falls outside the scope of his perspective given the sheer breadth of competing narrative essential content. As a show, these episodes are still delivering a cohesive and engaging thru-line by being glued to Rudy's perspective. So as long as Rudy remains interesting to watch the audience will be more than satisfied. Expecting the same anomalous level of dedication AND leniency from the production committee to happen for every season was unfortunately nothing but a pipe dream. Cour 2 is now being forced to make due with what it has and while they are doing a commendable job given the heavy restrictions, it is completely unreasonable to expect them to fit so much into such tight confines. It is the adaptation equivalent of being asked to fit everything into one grocery bag, but not wanting the bag to be heavy. Could this cour have been scheduled better? Absolutely. Was it possible certain changes to the script or episode direction could have provided more opportunities to explore the cut content? Of course. Is it still a total bummer that the realities of production that have compromised the artistic integrity of our beloved peak fiction? Without a doubt. We are simply going to have to get used to the fact that S1 may never be topped with our only hope being the return of the waifu-wars for S3 rekindles the beefs between animators vying for shot assignments (which may hopefully still be in the cards god willing). Of course, I'm not a future seer, so maybe, just maybe, Studio Bind bursts into flames and all of the footage is lost resulting in the quality of the last 3 episodes to be the worst drop off of a television show since the final season of Game of Thrones. If that is the case then I'll be eating more crow than I ever have in my life. But if Studio Bind sticks the landing and delivers on the emotional climax to one of the most beloved arcs among the fanbase that we've anticipated for years, then please calm it down with these exaggerated "cutting content is ruining the show" claims. Thank you from coming to my Ted Talk and enjoy the rest of the season everyone. |
2024.06.09 22:26 Domukin [H] 500+ steam keys [W] Lost in Play, En garde, Atari 50, Grindstone, PayPal, Offers
2024.06.09 22:06 International_One110 Beyond Meat Unpacked & Served Up Hot $BYND Due Dilligence
Tl;Dr: The setup for $BYND is very similar to $GME & IV has not pumped yet due to little (but eerily similar to GME) price action on both the long-term & short term time-frames. Many bullish factors are listed below, namely 170% cost to borrow with 96% utilization & a high days-to-cover ratio. A catalyst to come is a new collaboration with McDonald's, yet to hit the press (sauce). On both technical & tinfoil (related to GME) levels, $BYND is looking to make a move. submitted by International_One110 to Shortsqueeze [link] [comments] Greetings, fellow carnivores. Happy 06/09 & I hope you are having an excellent weekend given the recent hype! First off, let me say that I believe in the redemption of some of our great American companies from the depths - namely GameStop. Needless to say, this is not financial advice & we should all do our own research. I'm here to lay out the (lab-made) bull-case for Beyond Meat, ticker $BYND. The Tandem TradeNow, we all know what happened with GameStop in January of 2021, and there were a few basket stocks that squoze a bit in tandem. Namely, AMC, (BB)BY, KOSS, and one that people might not have paid attention to (because it wasn't on the list of stocks shown below)- $BYND.https://preview.redd.it/0bxh071upl5d1.png?width=458&format=png&auto=webp&s=233b7b353691653d8e43a21664a632cdf14fd940 Strap in because we're in this for the (short?) long haul - the company has a terrible standing. It is struggling to get items off the shelf & although their fake chicken is arguably better tasting and healthier than regular chicken - it's weird as shit. So is their chart in January '21: Ran during the 2021 \"meme stock rally\" on no news Google shows a moderate averaged price rise of 51%, but it went from a low of $114.05 on 01/04/2021 (same day as GME's Jan dip before the rip) to a high of $221 on January 27th, that infamous GME day - meaning it had a January run of 94% at the same time as GME's rip. Something something about basket stocks. Not to mention, it has the exact same run into June as GME the same year, going from a low of $99.86 to a short-term high of $160.28. GME 100% run in May-June 2021, Starting ~May 10th. BYND 50% run in May-June 2021, Starting ~May 10th. Now, I hope these past trends can help you understand BYND's recent price action in the basket. Let's compare: GME 1 Month BYND 1 Month Looking awfully similar, even with zero dilution from the $BYND board (not flaming GME for doing it as it is very advantageous for their overall business). Now, I introduce you too the Ortex data. https://preview.redd.it/ee4pso47xl5d1.png?width=1918&format=png&auto=webp&s=2c4e890db93d81d0ac85da995651784cea5f9677 Some notable stats:
Additional Macro-factors:
Positions:-A one-eyed, one-horned, flying purple(circle) hedgie eater.-06/21/2024 Calls:
Disclaimer (for the second time): This is a risky scenario and although I am confident in my investment & am prone to a riskier investment style; I recommend everyone do their own research before making their own investment decisions. With that said, thank you for reading and have a great weekend. Edit: Cleared up photos that were pasted in a bad format. |
2024.06.09 21:57 mhacks007 FFIE COMPLETE ANALYSIS
2024.06.09 21:57 mhacks007 FFIE COMPLETE ANALYSIS
2024.06.09 21:57 mhacks007 FFIE COMPLETE ANALYSIS
2024.06.09 21:22 mthw704 (SELLING) AWESOME LIST OF 4K/HD/SD CODES. Lots of titles added this week & a great $2 list. Over 5,000 transactions.
2024.06.09 20:52 Ultimate_Random Filament Material Recommendation For Washer
2024.06.09 20:36 alrightyaphrodite Book recap & discussion: Izabella St James ‘Bunny Tales: Behind Closed Doors at the Playboy Mansion’ - Prologue and Chapters 1-3
PROLOGUE submitted by alrightyaphrodite to TheGirlsNextLevelPod [link] [comments] Izabella reflects on meeting a "$20 million-a-movie club" actor at a restaurant who finds her "astounding", he calls her the next day and they talk forever. He's extremely into her until he learns that Izabella lived at the Playboy Mansion, she says he was livid and couldn't be associated with her as her Playboy past would taint his reputation. She feels defensive about his judgment of her Playboy Mansion past, she was letting go of the steering wheel of life and exploring herself and freedom. She says to understand each other we should know where each other has come from. So here she is to set the record straight and let you be the judge if she really did ruin her life by living as one of Hef's 7 girlfriends. 1: MADE IN POLAND Izabella was born in Krakow, Poland. She has a handful of paragraphs talking about the beauty of Poland, the spirited and resilient character of Polish people, and she lists notable people of Poland. She writes about how Poland was the most devastated eastern European country of World War II, and is home to some of the most horrific places in the world, including Auschwitz. Her dad was a baby when his family had to flee their home after catching fire during crossfire between Germany and Russia, and he lost his brother later to a landmine. Izabella's grandpa was arrested and sent to Auschwitz for helping Jewish people - he survived but was a ghost of himself. After WWII, she says Poland fell on the wrong side of the Iron Curtain and became a communist country - this was the setting of her childhood until age 11. She says her dad had a high up, well-paid position at a factory and their family of three had a better life than most people. TVs, cars, clothes etc. were scarce and expensive, but Izabella's family had a car, considered a luxury, and she was spoiled by her parents with lots of toys and a snack bar in her room. She's loved animals all her life and has never wanted to eat meat. Izabella goes on many vacations with her parents in their car to other eastern European countries, but are put through unbearable screenings when they cross borders. Her dad is pressured by the Communist party to reveal names of anti-communist staff at his factory and his job is threatened. They manage to secure a special visa to visit Greece on a bus, and they plan not to return. They have to leave their possessions and everything behind as to not raise suspicions, so Izabella has to say goodbye to her dog and it breaks her heart. She lives in Greece with her parents for a year and she loves it, she learns to speak Greek. Her parents struggle with making money and starting over, and Izabella appreciates their sacrifices so that she can have more opportunities than communist Poland could offer - she's sure moving into the Playboy Mansion is not an opportunity her parents had in mind, but she's about being receptive and exploring new opportunities with the freedom her parents helped secure for her. 2: CANADA, EH Izabella's family's immigration request is approved to move to Canada. They are sent to Prince George, British Columbia - a small lumber town in the Rocky Mountains. They all have to learn English, now Izabella's third language. Her parents don't see a future there so they get a van and the three drive across Canada to Toronto, where they've heard of more opportunities. They settle in Kitchener-Waterloo and Izabella starts grade 8 (age 13-14), she says even though she missed grades 5-7 moving around the world she was not behind as the Polish communist curriculum was so advanced. She starts to learn French, her fourth language. She makes friends, dates lots of boys, loses her virginity, and gets straight A's. She can't do frog dissection, and realizes she can't be a doctor, so she decides to enter the "only other traditionally prestigious and respectable profession", and become a lawyer. She turns down scholarships to other universities and chooses McGill University in Montreal, "widely regarded as the 'Canadian Harvard'". She lives with 2 of her best friends and says they were legends in their neighborhood as 3 tall blonde housemates. She enjoyed experimentation and parties and trips with her friends. She says 'never a shortage of men' for her and her friends, and one guy she dates Keith is head over heels for her but they break up due to school demands for her and pilot training demands for him - they remain close friends. She dates a footballer Ryan from another university but they break up due to distance. She dates a guy named Sean who dotes on her, but hooks up with Ryan secretly whenever they are in the same town - Sean finds out and calls Ryan's new girlfriend and tells her too. Izabella swears off dating for a while after this fiasco. Izabella is a double major in political science and history. She adds humanistic studies to be a more "well-rounded person" – studying Spanish, philosophy, classical music, and geography. She dreams of becoming an ambassador, a diplomat, and decides on law specializing in international affairs. She finds out Keith, her pilot ex - died in a plane crash flying his girlfriend on a snowy night. There is a major ice storm of 1998 with 5 days of no power in Montreal, she's had enough of the cold winter weather. Her grandmother passes away in Poland. The deaths of Keith and her grandmother make her consider life, and that there is more out there to experience and enjoy than just studying. She wants a change and to be somewhere warmer. When considering law schools, she weighed reputation and the lifestyle of the area equally - and applies to 2 schools in California. Pepperdine University in Malibu is the first to accept her application, her parents co-sign for her student loans, and she makes the move. 3: LEGALLY BLONDE Izabella says her first year of studying at law school is a mix of satisfaction and disappointment. She’s not dated since the Ryan-Sean drama, but starts to notice a tattooed tall guy at Pepperdine “only in LA can you find a hot tattooed guy who is presumably intelligent”. The guy manages to introduce himself to Izabella after a few sightings, his name is Justin and they fall in love. This other girl wants to date Justin, and one night after Izabella drives home from a bar where that girl saw Izabella with Justin - she smells burning rubber and discovers someone ripped off her cars’ windshield wipers and stuffed them in the exhaust pipe. She believes it to be that girl but can’t prove it so lets it go. Izabella says there is not a large international law market in LA, so she connects with someone in entertainment law who works for Playboy for an interview. It goes well but she decides to go study law in Spain over the summer where she can also work on her Spanish skills. She applies for another school loan and is off to study in Madrid for 2 months capped off with a 2-week vacation in Italy, Justin joins her and they have a great time but are “ready to kill each other” by the end of the trip. She returns to Pepperdine for her second year, she stays on top of her studies but also hits the Malibu beaches and hottest clubs in Hollywood all the time. She only makes 2 friends in law school as she says everyone is competitive, thinks they are the smartest, and if you are attractive as well as smart people will resent you. Izabella is out with one of her two hot-confident-smart-but-also-has-personality friends from university, Vivian, one night, when they go to the same restaurant as Hugh Hefner. It was the year 2000, and in 1.5 years time Izabella will be part of Hef's ‘party posse’ – but at the time of this first sighting she would never believe that was in her future. Hef is sitting with Buffy Tyler, Katie Lohmann, and Doctor “Feelgood” Mark Saginor. Izabella says she sees a lot of girls going to introduce themselves to Hef and she thinks it is embarrassing, but Vivian wants to go say hi so Izabella reluctantly goes with her. They are invited to join the table, Izabella is fascinated by Buffy and Katie and wonders what their life and setup with Hef is like. Mark Saginor takes Izabella and Vivian’s numbers and invites them ‘Fun in the Sun’ on Sunday. Izabella is nervously excited to visit the Playboy mansion. She says her ex, Sean, always said she should be a Playmate, and at McGill guys called her “Pam Anderson’s little sister” – not that she looked like Pamela Anderson at all, just because Pam was huge in Canada and “any girl with blonde hair and boobs was always compared to her”. At ‘Fun in the Sun’, it is not as wild as she had imagined. She says hi to Buffy Tyler who she finds cool and friendly. Izabella asks if she lives at the mansion and Buffy says she shares a room with Katie Lohmann and that it’s a lot of fun. Later on, Izabella notices one of Hef’s girlfriends “surrounded by a group of wanna-be Girlfriends”, the girlfriend comes over to Izabella and tells her she is pretty – Izabella says this girlfriend will later be her roommate at the mansion and partner in adventure. (Most likely Tiffany Holliday). Izabella and Vivian are invited to mansion parties and attend many together – Vivian says they should call and ask to be invited back to Fun in the Sun, Izabella does not tell Vivian that she has been receiving invites to Fun in the Sun all along. Izabella doesn’t go to the Sunday ‘FITS’ as to not upset Justin, and she is fine with just going to big mansion parties. Izabella is working for a professor helping with a book on international business transactions, but she realizes she would have to move East where there is a broader international law curriculum to continue her studies as planned. By the end of her second year at Pepperdine, Izabella and Justin take a break as he will be studying for the bar this summer and Izabella is ready to travel again. She gets another school loan to study at Jagiellonian University in Krakow, Poland – “one of the oldest and most prestigious universities in Europe”. She studies in cafes, visits the underground salt city Royal Salt Mine at Wieliczka, and has a deeply memorable and heart-breaking trip to the Auschwitz-Birkenau concentration camps where her grandfather had been sent. Justin calls her over the summer and it’s nice, but she decides she is not ready to jump back into their relationship. She returns to her last semester in LA and is excited to resume attending mansion parties, and Fun in the Sun again now that she doesn’t have to worry about upsetting a boyfriend. Justin remains close and she draws comfort from that. Attending the parties at the mansion is her only plans in regards to Hef. “I never imagined what the future would bring”. Chapter 4 coming soon |
2024.06.09 20:27 ProGuy347 Good fanfics that are over 100k words?