Will united healthcare cover a teen pregnancy

Fit Pregnancy

2015.02.22 23:24 Fit Pregnancy

An inclusive space to discuss fitness and pregnancy - pre-natal, during, and post-partum. Geared towards motivating and inspiring pregnant people to stay healthy and fit throughout.
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2011.03.26 01:21 pixel8 Anti-Troubled Teen Industry Activism & Survivor Support

We are a community of survivors and advocates who oppose the abusive Troubled Teen Industry. We seek to raise awareness and to change the law to protect the teenagers in these programs from harm. Join us in our fight to combat abuse and neglect in 'troubled teen' programs! Together we can make a difference!
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2020.12.11 19:34 forensicfox_ gymsnark

The laypeople's audit of the unregulated parts of the fitness community. Not associated formally or informally with blogsnark - great sub, but they aren't responsible for us.
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2024.06.10 01:36 frankdarrulll Hot Start Issue

2000 Toyota Tundra V8, 4WD, 305k miles.
I have a hot start issue. When starting “cold,” or after sitting over night, the engine turns over strongly and consistently. When starting “hot,” or after sitting for 20+ minutes after driving, it turns over weakly, will crank, at like it’s gonna stall, then start up slowly. I’ve thrown the parts cannon at this and I’m not proud, but no amount of diagnosis work has revealed the issue.
Things I’ve tried/replaced:
I’ve taken it in to the Toyota dealership once and to a reputable mechanic once, both being unable to find/fix the problem. Does anybody know what the problem could be? I literally just don’t know what to do anymore. Maybe I’m on the spectrum or have adhd, but it’s all I can think about and it’s occupying so much of my time.
submitted by frankdarrulll to AskAMechanic [link] [comments]


2024.06.10 01:26 ASongOf-Ice-Fire-and Game Over Theory # 2 - TWOW Prologue - 2 of 4

[Part 1]
My king. The sad memories faded into blurred flashbacks.
Olyvar cherished the sweet time as his grace’s squire. Though two years older, it made no matter. A warrior king was training Olyvar the way of knighthood, almost any boy’s dream. He remembered on slow days, Robb Stark would spend time with him, teaching the art of the long sword and shield. He can still remember the cloudy day at the Crag’s courtyard and his Northern accent as he swung his blade at the squire. “Keep your shield up Olyvar. Keep it up.”
“It’s too heavy.” Olyvar replied as Robb swung on.
“If it wasn’t heavy, it wouldn’t stop a sword. So get it up.”
They sparred and sparred in the courtyard. Robb Stark was dancing with him, hilts in hands. After he knocked Olyvar to the dirt for the twentieth time, he lifted him back up.
“Come, drive at me.” Robb then grabbed Olyvar gently by the back of his neck. “Look Olly, keep your shield up or I’ll ring your head like a bell.”
Olyvar never forgot that moment, his Grace’s right-hand touch, the way Robb looked into his eyes and called him ‘Olly’. No one has ever called him that and he liked it very much. They continued to dance. Rain began to fall, turning dirt into mud. Olyvar darted at him. Robb stepped aside, deflecting the stab off his shield and twirled around forward in a natural motion, his cloak spinning in the air. Before Olyvar knew it, Robb had his rear, his sword ready to thrust or slash any part of him. He glanced back and knew he was lost. The dance paused there and Olyvar turned around to meet Robb’s beautiful blue eyes. He could melt in them.
“You had me your Grace.”
“Come Olly, it’s your turn.” A winter wind came blowing in from across the sea. A breeze lingered there, brushed Robb’s auburn hair. “Now, dance with me!”
It almost felt like a sin to be as excited as Olly was at that moment.
“I’ll drive to you now. Try to do what I just did. In mud like this, don’t forget to plant your foot before each movement. And remember, you have to keep your shield up.”
As Olyvar and Robb got into their positions, his older half-nephew Ser Ryman Frey suddenly appeared and intervened. He grabbed Olyvar like a little green boy and pulled him towards the exit. NO! Olyvar’s word caught in his mouth.
Robb spoke up for him. “What are you doing? Olyvar is my squire and a grown man. He can do what he wants and speaks for himself.”
“My grandfather has declared a suspension of your alliance with House Frey,” Ryman said. “You have broken a sacred vow. If you would not have his daughter or granddaughter as your queen, you certainly cannot have his son as your squire.”
Robb was expecting Olyvar to say something, but the squire froze. More Frey guardsmen came in and dragged him away from the courtyard, his heels lifeless on the ground, leaving twin mud tracks on his departure. Robb stared at him sweet, sad, and silent. A bolt of lightning flashed across the rainy skies, its reflection off the King’s sword blinding Olyvar. That was the last time he saw Robb alive.
When news of his King returning to the Twins for the wedding between Lord Edmure Tully and his sister Roslin, Olyvar could not contain his excitement, to hear the voice of his call.
Since that rainy courtyard day, Olyvar had been on his own for long enough. He hoped maybe Robb could show him again that dance that he loved. Maybe. Olyvar had been going through withdrawals. Not seeing his Grace was just too much. He could turn me on with the slightest touch. But since the Red Wedding, Olyvar’s courtyard has been cold and empty. Fuck anyone who judges me. He couldn’t see clearly now that Robb was forever gone. Olyvar was still blinded by Robb’s last light. He couldn’t sleep, still yearning for his touch. In his heart, rain constantly fell, drowning him in the nights. I was his squire, Olyvar cried as his soul twisted. And I failed him. I was the only one that night he could trust.
After the slaughter, Merrett Frey, a kin of his, greeted him as he released Olyvar from the dungeons. “I’m sorry Olyvar that we had to lock you up, Perwyn and Alesander too. But you must do your duty for your family. You are a Frey, a man of an honorable house. This stain left by Robb Stark and his bitch mother Catelyn Tully should not go unpunished. Lady Catelyn also killed Jinglebells. She even japed ‘a son for a son*‘* to our Lord father as she slit his throat.”
A son for a son. Olyvar Frey looked at Merrett sullenly, his voice choking up, “I must go for a walk.” Olyvar walked and walked … passing the burnt tents, passing the dead soldiers with Northern and Riverland sigils sewn on their garments, and passing Grey Wind’s headless body. He was far enough from home, but he could still hear the cheap cheers of the Frey and Bolton soldiers.
He fell to his knees and began to cry. My king. My sweet king. Olyvar swore vengeance. Though he will never consider kinslaying as it was a curse among the gods, it would not stop him from facilitating others who seek revenge against his own family, the ones who were directly involved.
Suddenly at the side of the river, a dying man was crawling towards him. Soaked in water, mud and blood, he cried out in a ghastly voice “Olyvar!”
“Who, who are you?” Olyvar sprinted to aid and for recognition. “Raynald?” Without hesitation Olyvar replied, “My brother!” He placed himself under Raynald’s shoulder and lifted him up. “We need to find a maester.”
On the way back to camp, Olyvar and Raynald encountered two sentries of his Frey household guards, far from any other eyes can see.
“So what do you have here my Lord Olyvar?” one asked.
“A dying lone wolf? Let us put him out of his misery,” the other replied as they stared at Ser Raynald Westerling’s dampened seashell surcoat.
Olyvar lowered himself and laid Ser Raynald on the ground, and arose in a tone cold as stone. “No. Not a lone wolf.”
Olyvar unsheathed his sword and killed both Frey guards before they could reach their weapons. He then swapped Raynald’s wet Westerling clothing for one of the dead men, and found a maester.
Ser Raynald Westerling stayed with Olyvar at the Twins under disguise. He even trimmed off his brushy moustache. Weeks later after Ray had fully healed, he asked Olyvar to go with him to look for Maege Mormont and Galbart Glover at their secret hideout, as per the original plan before the wedding.
One night, Olyvar Frey simply walked out of the Twins again, this time with Ray. No one would care where Olyvar was going. Truth be told, his Frey family would be more content if more spawnlings of their lord father would leave the castle to find their own destiny, especially if they were unlikely heirs deep behind the line of succession.
Aboard one of the Northern galleys floating outside of Seagard, the Seashell Knight had to explain how this son of Walder Frey earned his trust, as Lady Mormont held Olyvar by the throat with a dagger. The skin around her eyes had been raked and blackened with tears and nails, her teeth bit with furious anger. She had been like this for weeks. Olyvar stared at her face and he felt like he could die here and now, if that was what it meant for Lady Mormont to forgive him, as he knows no gold would ever substitute for her grief. “I am sorry about your daughter Dacey. I lost my brother too. Benfred was a good man, I swear to you by all the gods old and new, that he did not have a part in the slaughter. Benfred would have done everything he could to grab an innocent woman like Dacey, and bring her safe from harm.” Olyvar meant it.
Mormont sheathed her dagger, her hands still shaking. “I’ll kill them all! Anyone who was a part of this!”
“No.” Olyvar replied. “We have to get the girls back. And then you can kill them all.”
At the siege of Riverrun, Olyvar Frey freely roamed Ryman’s uncoordinated camp. No one cared. One night alone, he swam across the moat and climbed up the castle with spikes. Only thirty feet up, the Tully guards had heard him clanking and aimed their crossbows from above. “Identify yourself!”
He whispered, “I am Olyvar Frey, son of Walder Frey, former squire to his King, Robb Stark. I come unarmed and offer myself as a hostage. I know the Blackfish, please let him know I am here.”
“Stay where you are.”
Olyvar clung to the castle’s wall half way down to death and half way up to forgiveness. Finally Ser Brynden Tully appeared and told Olyvar to come up quietly. As Olyvar threw himself over the parapet and onto the floor, the Blackfish kicked away his spikes and immediately kneed his body to the ground, holding a dagger at his throat. Shit, not again! Damn this mayhaps, why was I unblessed to be born a Frey?
“What are you doing here, Olyvar Frey?” Ser Tully demanded.
Olyvar told them the truth and handed him Lady Maege’s letter from a waterproof compartment in his garment. The letter was coded with secret words that he and she only knew. The Blackfish cracked the seal, unrolled the parchment and read. Afterwards he released the grip from the bottom and the message curled up on its own, eager to protect the secrets.
“The paper curls, at least you didn’t try to deceive me with the age of the parchment.” He then asked Olyvar, “So, you killed some of your own men did you?”
“To save Ser Westerling, yes.” The Blackfish looked at his eyes and nodded in approval. “May I see her now?” Olyvar inquired.
The Tully guards led Olyvar to her room. Some left the area, but others stayed and watched, still suspicious of the unarmed Frey. She was in her solar, knitting her needle works. He fell down to one knee towards his niece-in-law (by Olyvar’s brother-in-law, Lord Edmure Tully), “My Queen.”
“Olyvar!” Without a hint of hesitation or mistrust, she dropped her needle, ran towards him, and wrapped her loose skinny arms strongly under his’. She poured her heart, soul and grief-filled life into a Rose By the name of Olyvar Frey. He reciprocated, placing his arms around her shoulders as Jeyne Westerling-Stark continued to hold tight. Her orange sized breasts pushed against his chest, as the Queen’s chestnut mop of brown hair sat below Olyvar’s clean-shaven chin.
“Robb.” It was all she needed to say as they shared a sob. Nothing hurt more than that moment when he shared the same pain with Jeyne. Olyvar dipped his head to hers, their salty tears finally uniting and slowly dancing together as their faces pressed cheek to cheek.
“He is in the heavens now, I believe, singing from above.” Olyvar prayed. “He will be waiting for us. No doubt we will see him again some day, but we must make him wait.”
“I miss him so much,” Jeyne cried. She was always cheerful with Olyvar since they first met. Though he was curious whether she truly loved Robb or just wanted to be a queen, she has repeatedly been kind to him, so sweet. She never intervened when Robb trained Olyvar at swordplay and he was grateful for that. When they wed, Olyvar knew Robb could never be his brother, but Jeyne did not seem to mind letting him continue to squire beside her much younger brother, Rollam Westerling. Robb had allowed Olyvar to protect the queen sometimes, along with the other household guards, though he was still training at arms. Olyvar and Jeyne would talk constantly, mostly about their King. Even when Jeyne rambles about him, she would always shy away from talking about Robb’s bed manners. But Olyvar insisted he did not mind hearing it. Jeyne felt like a sister to him, just as much or more as Roslin.
“I miss him too,” Olyvar replied. “Did you really love him?”
She cried a little bit louder and squeezed Olyvar even harder. “With all my heart.”
Olyvar wanted to confess too, but he could not do it here, not with everyone watching. He only hoped Jeyne would ask him the same, and she did. “Did you really love him, Olyvar?”
He tightened his grip on Jeyne’s shoulders. “More than you ever know.”
She gently reached for his hands and lowered them. “Olyvar, you were his squire. He is gone now. But you still have a duty to us. You must protect us. We must never separate again. Promise me Olyvar. Promise me.”
“No. I cannot. Not yet. I must leave you, just this one last time, for your safety and your family’s.”
“You are part of my family,” the Queen proclaimed. Tears rolled down again, their hands still held together at their hips.
“I need to leave Riverrun tonight. And I promise you, we will reunite again and I will keep you safe.”
They talked for hours about the good times, the horror, and what the future lies. They talked about Robb, crying to the sadness of him, exulting at his bravery and his glories, laughing at the silly juvenile things the teenager king did to entertain them, and about falling in love with him all over again. And then they cried some more.
Later on that night, Ser Brynden visited Jeyne and Olyvar, with Lady Eleyna and Lady Sybell watching. “Olyvar, you were the King’s squire and though he is no longer with us, you are still owed a knighthood. Let the gods curse me if I ever knighted a Frey, but you are no Frey I have ever known. What you are about to do would be considered treason to your family.”
“But my lord father was treasonous to my King. I do not get to choose my father or which family I was born into. But here right now, is the family I want to be with.”
“Will you honor your new family? Will you honor your duty to your late King, his Queen and his House, the Starks of Winterfell?”
“I do,” Olyvar replied with pride.
The Blackfish unsheathed his sword, the blade alive with moonlight gleaming from the window balcony. “Shit I think I’m doing this wrong. I was supposed to say that later. Anyways, kneel Olyvar Frey.”
Olyvar got to one knee as Queen Stark and all the others watched. Ser Brynden Tully, the legendary warrior Blackfish, placed the flat of his sword on Olyvar’s shoulder.
“I charge you to be brave and … aww shit the knighting words escape me. I’m embarrassing myself. Anyways um. Family! Honor! Duty!” He placed the blade on the other shoulder. “Shit, I forgot the rest of the speech. Forgive me. But Olyvar of House Frey, I name you a knight! Now rise!”
And arose the new knight stood, and proud he was. King Robb Stark could have never fulfilled his promise of a knighthood, but it was his father that took it away from him. But being knighted by the Blackfish was more than anything Olyvar wanted right now, besides keeping Queen Jeyne and his family safe. To him, it was forgiveness.
The Queen approached him with a longsword in scabbard, flat on both hands. “Our late King had a gift for you Ser Olyvar Frey, at least he would have wanted you to have it.”
Before Ser Olyvar received it, he already knew what it was. Robb’s sword. “No, I cannot. I am unworthy of this gift, his Grace’s sword.”
“This is King Robb Stark’s sword, and I am his Queen wife. I charge you to protect your family with his own sword.”
Queen Jeyne Stark made an offer that Ser Olyvar cannot refuse. He took the sword from her forgiving hands.
“What will you call it?” she asked.
“What do you mean?”
“A name. Robb never named his sword. But a good sword should have a good name.”
“I was told by my half-brothers that only cun–, I mean only women name their swords. I will let you name it, my Grace. How should we honor our late King Robb Stark?”
“It is honor,” Jeyne replied.
Confused, Olyvar asked, “What is honor?”
“A sword. This sword.”
Before the sun had dawned, Ser Olyvar Frey with Honor slung on his back, climbed down the castle walls with rope, swam under the moat again, and departed the birthplace of his King, Robb Stark, as a knight.
He returned to the Twins, keeping his knighthood a secret. When Riverrun had fallen to Ser Jaime Lannister, Edmure Tully had agreed to be a prisoner at Casterly Rock. Roslin Tully volunteered to join her husband, giving them a chance to raise a family together, even as hostages. Olyvar, their brother Perwyn and half-nephew Alesander all agreed to escort Lady Tully to the Westerlands. Although they told their half-family they would take the land-route for their journey; Olyvar, Perwyn, Alesander and Roslin had a different Frey destiny in mind. After the Kingslayer’s threat to Roslin’s unborn child, there was no day they would ever stay at Casterly Rock nor return to the Twins. They departed for the coast and reunited with Ser Brynden Tully, Lady Maege Mormont and Lord Galbart Glover aboard the Motherfunker.
Before Ser Brynden escaped Riverrun alone, he and Lord Tully reviewed all their options during Edmure’s short visit. An escape on land had many risks to be recaptured or killed, but at sea it was far fewer … and having a faster ship helped. They would allow Edmure and Jeyne to be peacefully escorted by their captors to Casterly Rock as hostages, only to be rescued from the shoreline. Lady Sybell Spicer swore her brother Ser Rolph would lead the way inside the caves. “Honor, not honors,” were House Westerling’s words. And Robb Stark showed more honor to Lady Sybell’s family than any of the other Westermen could. King Robb made her daughter a Queen, while King Tommen gifted Ser Rolph with the cursed ruins of Castamere from the notorious Lannister song. This honor was more of an insult than a reward.
One night aboard the Motherfunker, Olyvar took out a fresh new flat parchment to write a letter that was meant for his father. He held his feathered quill upright, but did not know how to start. He was fidgeting as he stared up around his cabin. He began to tap the pointy end of the quill and pricked his other hand by chance. Frey blood began to trickle from the wound along with a stinging pain. Cashing in on the moment, he then knew what to say. He dipped the blood smeared quill into the black inkpot, and began to pour his soul & anger onto the kin he no longer wanted.
Father, I hurt myself today, to see if I still feel. I focus on the pain, the only thing that is real. The needle tears a hole. This old familiar family sting. I try to forget it all the way. But I remember everything. I find myself asking … “What have I become? My sweetest King? Will everyone I love go away in the end?” And Father, you can have it all. My empire of dirt. I will let you down. I will make it hurt. If I could start again, many miles back at home that night. To save my King, I would sacrifice myself. I would find a way. Your son Olyvar.
He rolled the parchment and laid a tablespoon of wax from his tallow candle at the edge. Olyvar pressed the button with his bleeding thumb, filling the stamp in a marble of white, red and pink; sealing it with his own blood. He placed the rolled parchment in his breast pocket, hoping to leave it somewhere in Casterly Rock and eventually reaching his father’s hands.
On the deck of the Motherfunker a few nights before … crewmen, Riverlands and Northern loyalists sang, drank, and cheered to the music of the masterplan. Though most wanted to spill blood to avenge the Red Wedding, humiliating their enemies would be the sweeter revenge: the story that sings in songs. But not all were there for vengeance. Some were just there for the adventure.
The Captain of the Motherfunker was there for the honor of joining their song. He wanted to look into the eyes of the lion, be a part of the thrill of the fight, rising up against our rivals. He also owed Ser Rolph Spicer a favor from their long smuggling history together at sea. If he helped rescue his niece Jeyne from the rocky castle, he would consider the debt paid, and the Black Sparrow was happy to oblige.
“So we are here to rescue this princess? No?” Samullu spoke in the broken Common Tongue
“No, not a princess, she is a queen,” Olyvar chatted.
“In the Summer Isles, a princess and a widowed queen is the same person. My father was king, but he died when I was a babe. My princess mother was the one who raised me after my uncle took the throne. I loved my mother. I named my swanship for her after she died a few years ago.”
“Motherfunker?” Olyvar asked. “What is a funker?”
“Where I am from, fighting and dancing is called the same thing. We call it funk. We funk to fight, we funk to dance, and we also funk to love. And the skill of our funk we always inherit from our mother’s side. I got it from my mama.” The black single-eyed captain pleaded. “Yo got yo from yo mama too. ‘Motherfunker’ is just a homage to one’s mother for giving us this art of our body’s motions.”
Olyvar never knew his mother, but he was very intrigued to hear more about Samullu’s and their culture. They chatted for quite a while.
Olyvar thanked him for helping them. But Samullu insisted it was the right thing to do after hearing about the horrors of the Red Wedding. “The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers! And yo will know I am the Captain when I lay my vengeance upon thee!”
Olyvar never knew the Black Sparrow was so pious to the gods of avengers.
Sharing rum together, Olyvar sung to him about his own story in depth. Captain Black Sparrow was impressed about his journey so far and he gave Olyvar a small jar of dirt. “This is soil from my empire back in the Summer Isle. I have a whole barrel of it to remind me of home. Here, take this other small gift as well.” He then took out a bird’s feather, long as a flute, bright and colorful. “We Summer Isle people have feathered cloaks, yo see it on all of us. But feathers like this one were meant for some of the bravest and baddest motherfunkers out there. I want yo to take it Ser Olyvar. Let it be yo warrior’s funk.”
Olyvar took it with his hand and gave it a warm stare. The feather was colored like a fading rainbow top to bottom, but the stem was yellow like a lemon. “Thank you.” The gifts were quite odd. By value it was not much, but it seemed like it meant a lot to the exiled prince, the type of gifts worth remembering.
“So what do yo need besides a miracle?” Samullu asked.
“Weapons. Bows and arrows. Lots of arrows.” Olyvar was serious.
“Aye, and I have a lot. Yo know, no one has ever done anything like what yo and the Blackfish’s men are about to do.”
“And that is why it will work.”
The plan was to allow Lord Edmure Tully and Queen Jeyne Stark to safely travel to Casterly Rock unmolested, under the command of Ser Forley Prester and his four hundred men. Lord Gawen Westerling and his son Rollam were to return to the Crag, but Lady Sybell was to stay with Jeyne, maintaining what deceptions she can conjure. Her bluff with Ser Jaime Lannister worked, earning the slightest trust from them before their escape at Casterly Rock. An attempt to rescue them on their path down the River Road would invite the Lannisters to execute the hostages on the spot, failing the objective’s purpose. To stealthily hunt down each soldier one by one would have proven even then, a mission of the impossible. Stirring fear in the hearts of the Lannister soldiers was the only solution, the effective psychological weapon. Ser Prester’s men have been haunted by the ghosts of the Brotherhood without Banners throughout the Riverlands, and the Blackfish would use that to his advantage. With the help of their fastest horse, Bubbles, mounted by Justin Smallister, a distant cousin to House Mallister of Seagard, he would tie empty nooses on trees ahead of Ser Forley’s route. The hope of the hoax would keep the Lannisters on edge, making it difficult to rest. Only when they reached the castle of Casterly Rock, they would drop their guards down, thinking the hard part was over. But on the exact evenfall on the day of their arrival, Lord Gawen Westerling and our small land forces, hidden in the eastern woods outside, would sound the trumpets and drums, drawing the weary soldiers to arms again. But the Blackfish was to infiltrate Casterly Rock from the western sea. Ser Rolph Spicer, our secret agent inside, will bond with Jeyne’s guards, drinking with them throughout their journey. Only on the hour of the escape, Ser Spicer would drug the guards’ ale, allowing them to fall asleep during the diversionary music. The Blackfish and his squad would provide armed escort, if needed. Ser Spicer would also help them navigate inside the caves, rescuing his niece Jeyne and their family back to the Motherfunker. By then, it would be too dark for the Lannisters to give chase into the ocean, if they even realized Queen Stark had flown off.
“I need twenty good men,” the Blackfish had demanded. A few hundreds of the remaining Stark loyalists and outlaws gathered at the docks, where the Motherfunker was anchored.
“And one more woman too!” the She-Bear crone proclaimed.
The men laughed in agreement as Ser Brynden continued. “I need volunteers only. Soldiers who want this fate to fuck them from behind in their arses! For the twenty one of us, we will be in harm’s way, make no mistake about it. I do not expect us to be discovered, but if we were, our escape will not be easy like our brothers working the diversion in the woods. I need men quick on their feet, proficient with the bow, and skilled at close-quarter hand-to-hand combat. Who are my brave men that will be knocking on the Lannister’s doors?”
Ser Olyvar Frey thundered in first and raised his hand. Jeyne’s words echoed in his thoughts, Promise me Olyvar, promise me.
Alesander Frey surprised him. “No you fool! You are not a skilled fighter. Put your hand down!” Olyvar told his nephew.
“I am a grown man, and I will not miss this adventure for nothing,” Alesander protested to his uncle.
“You are just a singer.”
“Then I want to be a witness to this great deed and be the first singer of our new song.”
Olyvar could not stop his brother & nephew from doing something so stupid.
Ser Raynald Westerling the Seashell Knight raised his hand too, eager to save his sisters Jeyne and Eleyna, and his mother Sybell.
Others began to join. Some had their reasons, some had their vengeance, some just wanted to try something new.
Fess stepped up. He was a long lost uncle to Ser Addam Marbrand after a lengthy voyage at sea. But Ser Addam refused to believe him, denying him a small chunk of land near Ashemark that Fess was entitled to own. He called his uncle an imposter and casted him out of the region. Fess swore he was a Marbrand, and swore he would unleash a storm on their household if they did not give his piece of land back. To the future of reclaiming his name by shaming theirs, Fess Marbrand was recruited into our efforts against the Lannisters and their bannermen.
The Summer Islander, Ben, and his Westerosi-born son, Benjen, were farmers from the Neck. Years ago, Lord Rickard Stark had welcomed the immigrant and his wife, granting them farm lands to flourish in. They grew rice in the marsh and exported it from White Harbor. They were so grateful to House Stark that they quite frankly named their son “Benjen” for Lord Stark’s youngest child of similar age. Since then, their hard earned work with their rough black hands in the cold had paid off in prosperity. After being widowed, Ben and his son ran the farm, just the two of them … until a few Ironborn men took Moat Cailin and all their harvest this past year. Their will and pride refused to let them take it again. So instead of growing new rice, they let it wither away and left the land … trapping the jaws of the Ironborn to hunger. Now Ben and Benjen were reborn into Ser Brynden’s band, for the honor of House Stark. “With great honor comes a great ass whooping!” Ben had declared.
Jess and Jory were two brothers that served House Westerling as guards at the Crag, personally protecting the Westerling sisters, Jeyne and Eleyna. They had watched them grow up since birth. Participating in their rescue was their duty, a duty they took without hesitation for the girls who were like nieces to them.
Phyl was a crewmate of royal blood on the Motherfunker. Back on another Summer Isle kingdom, his older king brother passed away as his young prince nephew took fresh rule. After Phyl forbade his nephew-king to order an attack on a rival neighboring island, he screamed at him, “You are not my father!” and flew out of the throne room, slamming its double doors. Soon after, the boy-king ordered for his uncle’s exile. Free like a bird, Phyl flew away himself to a ship with his friend, the Black Sparrow, looking for a new adventure.
Sam, June, and Rico were all hard loyal Tully soldiers that were ready to follow the Blackfish to the end of the world. Sam used to be a tall fat leviathan of a man, until one day June told Sam, “You never had the making of a first-class athlete like Rico here.” From then on, Sam, offended, lost several stones over the years as the three served patriotically together to House Tully. Now tall, lean and muscular, Sam was a force not to be reckoned with. They nicknamed him Sam the Shredder, but for shredding his fat as his body was now packed with muscular meat.
The hedge knight Ser Barnabus the Goose volunteered along with his new squire Leo, a boy of fourteen, whom he met that same day. Goose was a tall man, big shoulders, wide hips with greying blond hair. Though he grew up as an orphan, Ser Barnabus often boasted about being the grandson of some legendary tall hedge knight that he never chanced to meet. The other orphans used to laugh at him, calling him the Useless Goose. But ever since he suited up in his knightly armor decades ago, Ser Barnabus assured he was a useful Goose helping the small folks around the Riverlands. Olyvar wondered if Barnabus was his real name, or if he was even a knight.
Leo’s older brothers wanted to join the action as well … so Mikkal, Raff, and Donal stepped forward. Their uncle Scrooge, a man in his fifties, will chip in his services too. The four brothers and uncle were known as the Pissa family. They once owned a tavern serving their mother’s recipe of baked thin crispy bread, spun circular into a flat pie, served with tomato sauce and cheese above. Their uncle Scrooge improved his sister’s recipe by adding sliced duck sausages on top of the cheese, and charging customers extra for the option. Olyvar and the men on the Motherfunker had sampled and enjoyed the cuisine they baked aboard. Captain Samullu claimed that pissa was indeed a tasty dish, and suggested adding slices of pineapples on top of it too. The Pissa brothers gave Samullu Jaqenssen a cold stare as if the gesture was treason to the recipe. Back when they owned the tavern with their mother, the family often boasted about their food to the point where their competitors despised them. Their opponents would try to mimic cooking the same dish, but others would complain it tasted no different than bread. Afraid of losing their revenue, they insulted their mother’s crispy dish by calling it “pissa,” slandering it by saying it tasted like piss. But the brothers took the name their enemies gave them and wore it like armor, never allowing it to hurt them. Raff returned their insult by calling their adversary’s food being something that comes out of a cow’s bung hole. That humiliation stuck. For a while, men and women from all over the Riverlands continued to rallied in long lines to the Pissa tavern for a delicious slice of pissa. Sadly one day, the Mountain and his men came to destroy their tavern during the war, and took their mother. They never saw her again. Despite the sad drama, the Pissa family were a cheerful bunch, save for their pessimistic uncle. Olyvar could only hope they would find their mother safe and sound some day.
On the first day aboard the Motherfunker, Leo had never been on a ship his entire life. He bolted to the stern of the galley, stood on the middle rail with his arms spread out and screamed, “I’m the king of the world!”
Olyvar had to grab the blond teen down before he fell overboard. “Nice try Leo,” Olyvar said. “But you are too lowborn to be royalty. You are better off marrying a queen to be a king, or at least start with a princess.”
Ser Barnabus the Goose appeared and offered his help. He was in need of a squire for some reason, and Leo was quite eager. “Leo, I’m going to teach you how to live.” Goose swung his arm around the teenager’s neck and rested it there. “You want to be a king and win the ladies? Learn how to squire for a knight first. Unchain and fetch me my stallion from the docks, I’ll show you a trick. I’ll show you how to ride it on this rocking ship!” Leo did as he was ordered.
“And when will I ever need that skill?” Leo questioned as he brought the horse up to the deck from the ramp.
“What was it you were looking for again on this journey? Your destiny? Your death?” Goose mounted.
“Naked princesses,” Leo said.
“Well this move would make any maiden, royal or lowborn, shed their clothes off for you.” The knight pulled down the reins as the stallion stood tall on its two hind legs, looking like a work of art meant for eternal statues of the gods.
Samullu appeared and asked Leo, “Is that Goose on a horse? On my boat? Why is Goose on a horse on my boat?!” The stallion came down, hooves thundering the top of the deck.
“Aye Captain, Ser Goose was teaching me how to pick up women.”
“Shiitt Leo, that’s all you had to say.” Samullu wrapped his right arm around the neck of the youth and offered his counsel, his left hand danced in the air as he spoke to solidify his argument. “If yo want naked women, fuck land. Don’t be a knight. Be a captain of a galley. The best pick up line to catch any woman yo can, is ‘I own a ship’.” Samullu raised his bearded chin. “After this mission is over, come with me and we’ll sail the seas. Meet women from all over the world. And they love a captain. Do yo concur? Leo, each lady is just a flower, another rose by another name that smell just as sweet, waiting to be plucked.”
Goose winced at the word and protested. “The only maids you meet sailing seas are mermaids. Don’t be fooled by the Black Sparrow. Some of them may be pretty on the top half, but you won’t like what they got below. It probably stinks down there too. But the captain doesn’t mind, he seems to enjoy bedding mermaids!”
Whether sea, air or land … the Black Sparrow or Goose … Leo will probably have to fly with one of them after the mission, Olyvar thought.
The night before the rescue, the raiders and the crewmen drunkenly sang and cheered to music, rum, ale and pissa. Drowning in the glory of their task on the morrow, they reminisce about the harsh archery and lethal weapons training Lord Glover had given them over the past weeks back on land … while questioning how large Lady Mormont’s sacs truly were. Lady Roslin Tully, approached everyone and asked if they would write their names on the book she held. “It’s for the memories,” she said. They all did. A signature on each page for each man and Maege. Some drew their own personal coat of arms. When it was Olyvar’s turn, he hesitated about sketching the two towers. He wanted to separate himself from the murderous lore of House Frey. He decided to draw his towers, with a Stark wolf running on top of the bridge, and a Tully trout jumping below it. He signed his name, Ser Olyvar of House Frey, squire to the late King Robb Stark, knighted by Ser Brynden Tully.
He wondered if he will be written into history as a great knight some day. A knight that could not save his king, Olyvar thought sadly. He would not be the only one though. Word had travelled for Ser Loras Tyrell, the Knight of Flowers, and his gallant assault at Dragonstone. He was gravely wounded, but no word on this brave knight’s final fate. Like Olyvar, Ser Loras had failed to protect his first King, Renly Baratheon, a man that the Knight of Flower was rumored to have truly loved. Though his King was gone, he continued to be bathe in the glory of battle. Despite being on the opposing side of the war, Ser Olyvar would be gay if he had the chance to meet Ser Loras, if he still lives, chatting with him about the kings they loved and lost.
Later on that night, Captain Samullu Jaqenssen shared a drunken game of cvyasse with Ser Barnabus for a golden dragon. When Goose doubled down after his first loss, he fell again, owing the Black Sparrow a pair of golden dragons by the end of it. When Samullu demanded Goose to pay up his reward immediately, Goose pretended not to understand his loose Summer Isle accent, giving him a wild chase.
“Wat?”
“Yo loose Goose, yo owe me the gold,” the Captain demanded in his queer Common Tongue.
“Wat?”
“The gold yo fool. The gold! Yo pay me.”
“Wat?”
“Wat country yo from?”
“Wat?”
“Do they not speak the Common Tongue in Wat?”
“Wat?”
“Common Tongue mother Goose!”
“Wat?”
“Say wat again! I dare yo, I double dare yo! I’ll throw yo overboard off the Motherfunker!”
Goose paused for a moment, until his pride could not resist. “Wat? Wat? Wat? Wat? Wat?” Goose said ‘what‘ so many times, it sounded like he was quacking, each one louder than before. “Wat? Wat? Wat? Wat? Wat?”
In a nick of fury, Samullu Jaqenssen flipped over the cyvasse table, stood up and drew his short blade. His remaining good eye raged like a storm, as steam seeped through the black leather patch of the other. “Yo cold ass honking Goose! Yo son o’ a whore! Yo bandit! I will gut yo from balls to brains to see what gooses is made of. I better find yo sacs golden before I take yo skull to gild gold! Either way, I will have my gold from yo!”
Goose suddenly comprehended everything, stood up with all his height and threatened. “Goodness gracious, do you kiss your mother with that mouth? Go ahead and try, but you will only find below me great balls of fire!” He grabbed his own crotch and pumped it once into the air. “And after your failed attempt, I will claw out your last remaining eye, leaving you blind for the rest of your sorry life!”
The others flocked towards the scene, holding the two back as they inched towards each other.
Jess tried to stop them. “Gods, have mercy!”
Sam the Shredder intervened as well. “That is enough! I want you two to stop!”
Jory said, “Cut it out!”
“Will yo shut up!” screamed Phyl, who had hustled a wager on the game.
Mikkal grabbed the drunken Goose, threw him to the floor, and told him to just beat it.
At the end, they all just laugh it off like all drunk men do. Smiling, spilling ale out of their cups, retching out into the sea the rum they drank, before drinking some more again. They were having one last good time before the mission. But today they had a job to do.
The twenty men, Lady Maege, and Ser Rolph continued up the paths in the lightless caves of Casterly Rock, huffing and puffing, but still silent as much as they could hold. One loud word at the wrong place at the wrong time may be their doom. In single file, the group followed Ser Spicer’s point with one lit torch. The stench was terrible and the dampness made it worse. Guarding the rear, Olyvar’s eyes were clouded in darkness at times where the torchlight was too far ahead to shine back. He relied on Ser Goose in front of him to lead the way, as Goose relied on Leo for the same.
[Part 3]
submitted by ASongOf-Ice-Fire-and to asoifaom [link] [comments]


2024.06.10 01:05 potsandpan21 My aunt's shotgun wedding was PURE CHAOS

In honor of my parents' upcoming 24th anniversary and my aunt's 6th I am going to share the chaos we all experienced 6 years ago today.
To start off, I will say that my aunt is not known for making good decisions or having good judgement. She gets herself into sticky situations and then relies on my mom (her older sister) or my grandma to rescue her.
About 7 years ago, after a disastrous engagement that ended explosively, my aunt started dating a new guy. We'll call him A and my aunt M. They dated for about three months before my aunt got pregnant. She was in her mid-40s at the time, so it was definitely unexpected. A wasn't super happy (I'll touch on why later), but he stepped up and accepted that he was going to be a dad. They moved in together and M said she wanted to get married.
A is an elementary school principal and M worked for a small non-profit, so neither of them were making much money. But A bought a ring and proposed and they were making things work. Then M decided to officially introduce A to the rest of the family.
We all had dinner at my grandma's house and it was super awkward. A is a loud, blunt guy who says what's on his mind, and he wasn't fond of us. My aunt later explained to my mom and grandma why.
A's parents died when he was in his early teens and he and his sister lived with his aunt afterwards. She wasn't a good guardian and he was pretty miserable. His sister was also a disaster in her own right and he was ready to get away from them all. Now, my grandma raised my mom and aunt as a single mom since my mom was 9 and my aunt was 5(?) (I don't remember how much older my mom is... oops!) My great grandma and great aunt were closely involved too, and the five of them were all super close, and still are. (RIP Great Grandma). Apparently, A was jealous and resentful of how close M was with her family and he didn't want us in their future kids' life because it was unfair.
A didn't outright ban M from seeing us but he was very vocal in his displeasure. As you can imagine, this caused a lot of fights. But they went ahead with the wedding.
They decided to get married on the beach in our town. M is Jewish, so she rented a chuppah (this is important later). She booked a few hotel rooms at a beachside hotel so she had a place to get ready and so my grandpa and his partner (who were flying in from across the country), had a place to stay. My grandpa's partner can't walk very well so a room near the wedding spot was requested by my grandpa. (Yes, they could have just been driven there and dropped off. My grandpa just didn't think of it I guess.)
My mom's contribution to the wedding was to buy my aunt her bouquet, and to surprise her by flying in her best friend from college (who lives in Kazakhstan). Part 2 of the surprise went great. Part 1 did not.
And so, we get to the fun part of the story. (Note: my aunt is 6 months pregnant at the time of the wedding.)
The wedding is supposed to start just before sunset. We arrive, we go to the spot on the beach, we say "hi" to A, and we wait for things to start. My aunt's best friend (she can be known as K) surprised her in her hotel room as she was getting ready. They had a sweet reunion and then it was K's job to come out and let us know that M was about to come out.
So, K comes out to the beach. The music starts. Good. Great. There's just one problem. The officiant has disappeared.
The officiant, who was A's close friend, apparently had a really bad fungal infection on his foot and the sand was bothering him (and because it was a beach wedding, A and M wanted everyone to be barefoot). My dad and I went searching and we found him washing his foot in the sink in a bathroom block. Super gross. Since we were in a tourist-y area, there were several stores. So my dad ran to one and bought some overpriced tennis shoes for the officiant.
Okay. Problem solved. We go back to the beach. It's getting windy now, and my grandma is worried about the chuppah. So my mom, dad and brother go to hold it in place. But with the wind comes the smell of weed. While we were tracking down the officiant, A's sister has gotten tired of waiting and decided to smoke a joint.
K starts arguing with her and it gets heated. Meanwhile, my great aunt, who has leg and back issues, is starting to get tired and sore from standing for so long. My grandma is about to go find out where M is (because she was supposed to come out ages ago at this point). But finally, we see her come out.
She makes it about halfway to us before she realizes she forgot her bouquet. For some reason, whether it be pregnancy hormones or stress or just sheer emotion, she bursts into tears and refuses to continue walking. K sprints back to the hotel room to get it, hands it to her, unpauses the wedding march music, and things start moving again.
K has a weird look on her face at this point, but we figure "hey, we're all miserable now. don't judge her", so no one says anything. My aunt FINALLY gets to A, under the chuppah (which is still being held in place by the rest of my immediate family), and the ceremony begins. It's basically nighttime now, but luckily, the ceremony and the vows were short.
There is actually a lot more chaos, but this is already super long, so I will try to wrap it up. There are rules about being on the beach at night, which we wouldn't have had to deal with if things had happened in a timely fashion, but because they didn't, we did. As the officiant says "you may kiss the bride", a sheriff comes up to us. My mom steps away from the chuppah to explain the situation and he was actually very understanding. He told us we had 30 minutes to wrap up and was about to walk away as my mom and grandma thanked him profusely. But then he sees the joint in the sand.
In my state, marijuana is legal. Littering is not. And A's sister reeks of weed. So she starts getting a citation... and then the canopy on the chuppah blows away. We're all so exhausted that A just sighs and says "leave it". So we take the chuppah structure down and load it into my family's ancient pickup truck. A is trying to wrangle his sister now, who is furious about the citation. And my great aunt, who has those leg and back issues? She is now in extreme pain and we actually needed the sheriff's help to get her to the car.
So we get into our cars and start driving to the restaurant. Nobody wants to go, but we paid for it, so my grandma insisted. I, however, am autistic. And lucky little me was so close to a meltdown that my dad took me home.
Remember when I said K had a weird look on her face after fetching the bouquet? It was because she sprained her ankle running in the sand. And when she got out of the car at the restaurant, it buckled and she fell. She managed to hobble inside though.
Apparently the dinner went smoothly, but it did end with my grandpa having explosive diarrhea in the bathroom. And I honestly think that summed up the whole experience pretty well.
M and A are still married and have two sons. They still fight all the time and A only sees us when he has to, but they are both in therapy and my cousins are happy kids.
Sorry for the length of this, but if you read it, I hope you enjoyed the ride. It's still our family's best disaster story and I sincerely hope nothing beats it... for many reasons.
submitted by potsandpan21 to CharlotteDobreYouTube [link] [comments]


2024.06.10 01:03 MerkadoBarkada COMING UP: PH: Wednesday holiday; PH: AREIT/MREIT div payouts; INT'L: US Fed rate decision; Citicore Renewable Energy has successful IPO; Robinsons Land plans P33.9-B deal with RCR; NexGen Energy has IPO approved by SEC (Monday, June 10)

Happy Monday, Barkada --

The PSE gained 9 points to 6519 ▲0.1%

Shout-out to all the readers who wished me good luck with the weekend of celebrations. I survived with only a multi-day hangover! That's better than I thought would happen. I'm already playing with house money.
A huge thank you to all the readers who wrote in personally to show their support for MB in relation to this issue with disclosure and transparency. I didn't receive one negative message on the topic, just encouragement and appreciation. The two-day coverage of that issue took a lot out of me, but your notes filled me back up and even with a massive weekend hangover I'm back and ready to go.
Thank you all!

In today's MB:

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▌Main stories covered:

  • [COMING_UP] The week ahead... Now that Citicore Renewable Energy [CREC 2.70; unch] has been listed, our market won’t have any scheduled domestic drivers until the BSP’s rate decision on June 27.
    PH: Wednesday is a non-trading day, and with as “meh” as the market’s been, I suspect that I’ll be getting more than the usual set of out-of-office replies. AREIT’s Q1 dividend pays out on Thursday, while MREIT’s Q1 dividend pays out on Friday.
    International: The US Federal Reserve will make its June interest rate decision overnight between Wednesday and Thursday.
    • MB: Nobody that I’ve talked to expects the Fed to do anything this meeting, and while I’m obviously going to be interested in the meeting minutes and the chatter around the decision and the analysis of the minutes, that’s basically the same position that we’ve been in for a long time already. The US has a very strong jobs market (and it has for quite some time) and the fear there is that strong demand for jobs will push up wages and provide inflationary risk.
  • [UPDATE] Citicore Renewable Energy IPOs to a flat finish... Citicore Renewable Energy Corp [CREC 2.70 unch; 100% avgVol] [link] opened its trading life on the PSE on Friday up 1.8% with the first trades going through at ₱2.75/share. The per-share price ticked down slightly through the day and finished at the intraday low of ₱2.70/share, which was CREC’s IPO offer price. A little over 25 million shares traded hands, which is approximately 1% of the total public float. CREC has a stabilization fund.
    • MB: The PSE’s second IPO is in the books! CREC has been raising money like crazy to achieve its ambitious goal of having 5 gigawatts of capacity by 2028; this IPO is only the latest fundraise in a sequence of raises that started in September of last year with the US$100 million financing that it negotiated. CREC continued the spree with a ₱20 billion deal with RCBC [RCB 21.75 ▼0.2%; 68% avgVol] and a surprise sale of ₱5 billion worth of its subsidiary, Citicore Renewable Energy REIT [CREIT 2.82 ▼0.3%; 401% avgVol] to SM Investments [SM 840.00 ▼1.3%; 40% avgVol]. CREC is cashing up to build. CREC’s President, Oliver Tan, said that CREC’s goal is to “become the largest, if not the top three largest power generation companies in the Philippines, not only as a solar developer but also as a power generation company.” So far their actions and words are in alignment.
  • [NEWS] Robinsons Land to sell ₱33.9-B of malls and offices to REIT subsidiary... Robinsons Land [RLC 15.74 ▲0.4%; 55% avgVol] [link] disclosed that its board of directors approved a property-for-share swap deal with its REIT subsidiary, RL Commercial REIT [RCR 5.20 ▲0.2%; 56% avgVol], that will send 11 malls and two office towers to RCR in exchange for 4.99 billion shares of RCR at a valuation of ₱33.9 billion. The implied per-share price of RCR in this deal is ₱6.80/share, which is a 30.7% premium over RCR’s Friday closing price. Once complete, the transaction will make RCR the PSE’s largest mall REIT.
    • MB: This is an enormous departure from RCR’s office-only strategy to this point, and a welcome one for shareholders considering the troubling performance of the commercial office sector in recent years and the lack of good news for any kind of pickup in the short- or medium-term. RCR hopes to get SEC approval for the transaction in FY24, but the SEC has not been very predictable when it comes to the approval times of these property-for-share swap transactions. Some are quick, while others seem to take an inappropriate amount of time to get approved. This transaction will lead to dividend growth, which (all other things being equal) should lead to RCR share price growth to balance out the yield. RCR is one of the cheapest REITs on the PSE in terms of its distributable income to price multiple.
  • [NEWS] NexGen Energy IPO approved by the SEC... NexGen Energy [XGEN] [link] had its ₱500 million IPO registration approved by the SEC. XGEN is a subsidiary of Pure Energy Holdings Corp (PEHC), the energy generation holding company owned by Dexter Tiu that is also the parent company of Repower Energy Development Corp [REDC 5.40 ▲3.9%; 18% avgVol].XGEN operates solar and wind power plants through its subsidiary companies and plans to expand its portfolio to 2.35 gigawatts over the next 10 years. XGEN also plans to get into offshore wind development.
    • MB: The prospectus calls for a July 16th IPO, but we won’t know the actual dates until Mr. Tiu drives the application through the PSE’s approval process. Once the PSE approves, we’ll get a Preliminary Terms and Conditions notice from the PSE that will have all the material terms of the deal, including the pricing, offer, and listing dates. It’s still possible for XGEN to make adjustments at each stage along the way, but each hurdle like this SEC approval that XGEN passes increases the certainty of things. I’ll do a deep dive once we get that Preliminary Terms and Conditions notice!
  • [NEWS] Ayala Corp appoints Erry Hardianto as CEO of AC Logistics... Ayala Corp [AC 596.50 ▼0.3%; 27% avgVol] [link] announced that will appoint Erry Hardianto as CEO of its subsidiary logistics holding company, AC Logistics (ACL), effective July 1. Mr. Hardianto will come to ACL with over 23 years of experience with Maersk in senior positions across SE Asia. AC said he has “successfully managed, grown, acquired and transformed complex multi-country logistics operations across Asia.”
    • MB: I’ve been calling for AC to get serious about logistics for a long time. I think this is just one step of many potential steps that AC could have taken in the right direction, but it’s a logical first step to make. I think it’s interesting that AC made such a big deal about mentioning Mr. Hardianto’s ability to manage, grow, acquire, and transform complex logistics operations. I hope this suggests that they’ve got big plans for this unit that go beyond the tepid organic growth of its logistics interests in AyalaLand Logistics [ALLHC 2.03 ▼1.0%; 59% avgVol]. There are a ton of interesting acquisition targets sitting out there, ready to get rolled up by a deep-pocketed conglomerate with the vision to do so. Lots of conglos have kicked the tires here. Is AC going to be the one to actually do it?
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2024.06.10 00:54 thehappybub New Codex is Wonderful

Just reading through the new datasheets, a number of things stood out:
-Every infantry character can now lead essentially any BSS derivative which is awesome.
-Canoness free strat is awesome and super useful, I think better than hit re-rolls.
-Aestred/Thurga is now super goated because the dev wounds aren't melee-restricted.
-Hospitaller is actually viable now, imagifier gives anyone a 2+/4++ now, though poor dogmata still sucks.
-Various leaders now generate MDs on kills though simulacrums took a nerf, but then also any BSS derivative (which could hold a simulacrum can now generate MD). I think this is overall better and more flexible so the backfield babysitter BSS is no longer important.
-BSS now sticky objs
-Dominions get to scout regardless of their leader and get a reactive move. They already saw play in many lists but now, depending on what their points end up being, they will be super viable imo.
-Zephyrim might actually kill something now, esp with a jump canoness they can be very effective
-Paragons are now viable alone to a larger extent since they effectively hit on 2s vs monsters and vehicles and within triumph aura can reroll 1s to wound. Having vahl with them is obviously still amazing for full rerolls but I think lists running 2x paragon squads may be totally reasonable now.
-A castigator battle cannon can now effectively have -2ap as long as you have a 2nd castigators to tag with their storm bolter or one of their heavy bolters.
-Lots of buff-stacking combos are immediately possible and I have to still devote more brain power to realizing them all, but just as a totally achievable in game example: an immolator can remove cover, castigator's fire can tag a target to take extra AP (even if you just devote the strombolter shots to it in a split fire), a flygirl squad with a jump cannoness can use light of the emperor for free to let exorcists within 3" ignore their hit modifiers for indirect, they can get reroll wound rolls of 1 within 6" of triumph, and then make their target explode on a 5 if they kill it. I'm sure there's lots of combo sequences like this available for various units between the different detachments.
Probably missing a lot. But overall very excited for list building, just hoping they don't give the codex a huge L pointswise.
Edit: Edited since I was being braindead, Castigators wouldn't be able to tag each other's target but could allow at least one of them to have -2ap.
submitted by thehappybub to sistersofbattle [link] [comments]


2024.06.10 00:52 Anon_Dog1 This Toronto builder is telling me that moldy units are safe to occupy and that I'm not the only one...

This Toronto builder is telling me that moldy units are safe to occupy and that I'm not the only one...
I took interim occupancy a couple of months ago in my pre-con condo and I recently came to learn that the HVAC in my unit was leaking water behind my living room wall (which is a shared wall with my spare room) and under the floor. They ended up having to rip out all the flooring in my living room and punch a couple of holes in the living room and spare room walls. When I asked, they reassured me that no mold was found and insisted that the leak was found and addressed quickly enough that no mold would've grown. I decided to check every nook and cranky thoroughly because something about their blasé tone made me feel uneasy. After poking around for a minute, I noticed black specs behind the baseboard in my spare room. I called the builder rep back up, showed them the photos that I took, and in that moment their friendly demeanour changed as they said, "I can't comment on anything".
Since then, we've exchanged a couple of emails that have gotten progressively contentious. Their stance now is that I negligently left the leak unreported for an extended period of time, and that the extent of the damages are not covered under warranty but that they will still do the repairs out of pure courtesy. And that they have video proof of how, "the concentration of water in the living room under the floorboards was evident upon touch and/or footsteps". They strongly insisted that I watch this video so that I could see for myself just how obvious this leak that I was leaving unreported was. Yet...when it came time for them to produce the video, they said "Video format is unavailable. Apologies for the confusion and/or miscommunication." HUH?!
I also asked them to provide me with a Service Report so I could understand what exactly was wrong with my HVAC to begin with (you as a homeowner are entitled to this). They confirmed that they had one and agreed to email this over along with the video. But again, when it came time for them to produce this Service Report, they didn't.
I have them on record saying that I'm not the only unit in this building experiencing this. They made it crystal clear that they will not be providing any sort of compensation and to essentially lawyer up if I want to keep talking. Amazing.
https://preview.redd.it/96n5b71qlm5d1.jpg?width=4032&format=pjpg&auto=webp&s=ffab1fd3d952b60c57a281f1fdd20bba34b9bd6b
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https://preview.redd.it/dw6fsatslm5d1.jpg?width=4032&format=pjpg&auto=webp&s=432204c80a89e638344e5034d7a6ff9f62bec2d4
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submitted by Anon_Dog1 to toronto [link] [comments]


2024.06.10 00:48 MyCatPhoebe Should I renovate or sell?

I own a three family house in a municipality that has rent control. I am currently exempt from rent control because I live in one of the units, but will be subject to rent control if/when I move out. I renovated one of my tenant units last year and the other two units need to be renovated. I was just given notice that my other tenant will be moving out this summer. I’m torn among the following options:
  1. Renovate the second unit, get a higher rent for the unit, and continue to own the building. What is appealing about this option is my interest rate is 2.5%. Here, I will be covering 87% of my mortgage through rental income.
  2. Do nothing and sell as is. With this option, I am not sinking additional money into the house. I will also be selling when demand is high and supply is low.
  3. Renovate both remaining units and then sell. This option allows the next owner to determine rental rates.
Any advice would be appreciated. TIA!
submitted by MyCatPhoebe to RealEstate [link] [comments]


2024.06.10 00:34 Healthy_Eggplant91 The perfect song for Eddie (+2 songs for Buddie)

I've been obsessed with Teddy Swims lately and I was listening to Last Communion for like the 20th time before I looked at the lyrics and realized it's literally Eddie's song (about his wife) and it's really cathartic to listen to given how they ended S7. I just wanna talk about it extensively because my heart hurts for Eddie, so I'm gonna analyze this in Eddie's POV because I am unwell 😭
So this song is part of an album called "I've Tried Everything But Therapy" which is very appropriate as a general Eddie Mood™ ngl. Anyway it's a song that deals with loss of faith, the end of a relationship, and lack of closure that results from it. It literally hits pretty much everything Eddie is trying to work through with his relationship with Shannon right now.
The song opens with:
Used to believe Heaven was bulletproof Only God can turn a red light blue Been cuttin' me deep, dyin' to talk to you Only love can push the blade right through
Right away, it's establishing faith. Even though Eddie's not as religious as his family or Bobby, I think he still believes in the broad strokes of Christianity like a higher power and maybe a heaven and how religion serves to let people deal with the problems that they might need a little bit more spiritual help to overcome. "Only God can turn a red light blue" can be interpreted as the belief that only divine intervention can help change a negative situation (in this case, his wife's death) into a positive one. The stop/go imagery adds the nuance that the situation is something that's holding Eddie back and God/a higher power is the only one that will "permit" him to move on as if "moving on" is completely out of his hands. It also lines up with Eddie's tendency to "search for signs" to move forward, like Shannon's "pregnancy" to propose, or Carla telling him to ask Ana out, or Christopher pushing him to call Marisol. Eddie is hurting himself to talk to or find closure with Shannon. The act of "pushing a blade right through" can mean his love for Shannon put the blade in him in the first place/she's the reason why he's hurting, and only love (someone else's/Buck's) can push it through so the hole can finally heal even if it hurts to do so.
This love's an orphan callin' on deaf ears There's no afterlife, but if there is It's late in the night time, so it's the right time For sleep talkin', sleep talkin'
The orphan imagery in the chorus is definitely supposed to signify that Eddie feels left behind, his love for Shannon is falling on "deaf ears" because she abandoned him while she was alive (he waits for her but she never responds) and literally after she died (he can't talk to a dead person). "Night time, right time for sleep talking" can be interpreted as Eddie hiding his feelings, keeping them to himself in the dark/in private where he can break down his defenses when he's alone, and the only time he processes his feelings is through his "dreams" or his fantasies. This is the bridge so it gets repeated along with the chorus to emphasize abandonment and the hope that he can "talk" to his wife through his imagined fantasy/afterlife/Heaven where she's still "alive".
And now the heart's shot dead Buried under each and every word unsaid 24 hours since 'Goodbye, God Bless' 'Fore we let the ghost get away One last communion babe
This whole chorus is basically painting the abrupt (and emotionally devastating) end of Eddie's relationship with his wife and desire for closure. The second line is self explanatory, there were a lot of things unsaid when Eddie had to let his wife go in the ambulance, I really think he couldn't unload on a dying woman and ask her why she wanted to divorce, why she would think there was a possibility she would never come back to him and Chris, why wasn't Eddie enough for her to stay, etc. This all happened very quickly in the show, I think it was like within one episode of each other, Eddie was asking Shannon to marry him, her refusing, and Eddie choosing to console her as she dies despite how much he obviously still had things to say (as shown when he talked with Bobby).
Before they let the "ghost" of their relationship get away, he wants one last "communion" with her, which can mean "to commune"/share thoughts and feelings, to "break bread" with each other, remember each other's sacrifices, put aside their differences and either part on good terms or try to fix their relationship.
With Shannon's death, it paints Eddie's desire for them both to have one last chance to say the things that haven't been said for the sake of peace. This is the chorus so it keeps repeating and just highlights this desire to resolve their issues and have a proper goodbye. The bridge and the "One last communion" part of the chorus is kinda circular, in the bridge he feels abandoned but still has hope, but when he "thinks" about his relationship, all roads just lead him to the longing of wanting one last "communion" with her in order to fix or to let go. When the bridge-chorus repeats in the song, it just paints how much Eddie is stuck in this loop of hope, devastation and desire for closure.
So I let it go, nobody else around Couldn't watch forever fall face down So I turned my head the second it hit the ground And I felt it, but it made no sound
Again, I'm thinking about the ambulance with Eddie consoling Shannon while she talks about "leaving again" and how Eddie probably wanted to ask why she wanted to divorce him, why they couldn't stay together for Chris if she really loves him etc. He lets go of his problems with her in the moment for the sake of comforting her. I'm also thinking about how Eddie told Bobby that he "forgave her for everything and it wasn't enough", this was something he decided to do likely with no input or advice from anyone else. The second line, I think Eddie really thought he and Shannon would stay together forever despite how shitty their marriage was and how shitty they were to each other. He turned a blind eye to the destruction of their relationship, deep down he probably "felt it"--their relationship was dead--but he refused to hear it because he couldn't watch his "fantasy" of being married to her forever crumble even after her death.
Bridge and chorus play again, Eddie stuck in a loop of hope and devastation every time he ruminates about his relationship with Shannon and lands with wanting closure with "one last communion".
It was a grand old age Oh and yes I know that nothing gold can stay But I couldn't bring myself to turn that page Before I drop a kiss on the grave One last communion babe
God this song is fucking perfect. Eddie built up a fantasy of having a perfect relationship with his wife, and maybe "The Grand Old Age" might have been true during high school and when they were first married to each other. Everything was perfect and golden, in Eddie's words "I loved being married to her" and he might have been blissfully in love with her then and maybe he knew it was never going to last especially when he started running away. But now with her gone, he can't bring himself to "turn that page / before [he] drops a kiss on the grave", in other words, he can't let go of that golden age ideal, to turn to the next chapter of his life, to move on, not before he let's go of his wife--which he can't do because he has an all consuming desire for "one last communion" with her, to make peace and get answers.
It was a childish game Who can light a candle in the cryin' rain No one could know about the mess we've made I'm scrubbing, praying that the blood don't stain I only whisper your name For one last communion babe
This song is literally made for Eddie 😭 "It was a childish game, who can light a candle in the crying rain" in the context of their marriage means they were immature and naive trying to make it work, trying to keep their "passion" or "candle" alive while they were both hurting. It was like an exercise in futility to participate in this back and forth "game" of Shannon lighting the candle under the torrent of Eddie's tears/hurt, and then Eddie trying to light the candle in turn under Shannon's.
They tried to hide their problems from others, they made a "mess" of each other, and the devastation Eddie is left with (his "heart shot dead" from the earlier lyrics) has covered him in blood (grief/trauma/left him broken) and he hopes that the "blood doesn't stain", he hopes almost desperately (scrubbing/praying) the aftermath of his relationship with her doesn't permanently mark him or break him. Now Eddie can only "whisper her name" longingly, it might also be a sign of secrecy, his need to keep his feelings about his wife--which persist even if he might not want it to--hidden from others maybe a little bit because of shame, he wasn't able to fix it. And again, he wants to so badly but he'll never get his "one last communion".
Ugh 😩 It's so beautiful honestly. Like word for word, it sums up Eddie's turmoil so well. This is now Eddie's anthem in my head, I can't separate him from this song.
The next 2 (honestly 3) songs are also part of the album, they're right after one another towards the end. The whole album kinda tells a story of anger, toxic relationships, heartbreak and finally moving on, realizing you're deserving of love and then finally finding it if listened to in order, so obviously I wasn't not going to think of Buck after that Eddie-as-fuck song. I'm not gonna go as heavy on the analysis because they're pretty self explanatory.
First one is Suitcase, and surprise surprise, it's about ✨baggage✨ lmao. It's slow and kinda sad, kinda hopeful, trying to move on even with all the hurt and exhaustion you gotta carry from previous relationships, always afraid you're moving back instead of moving forward but still loving who you can't help loving despite the setbacks and just asking them for a little more time and space to heal. 😭😭😭 From the artist himself: "This is a song about my journey to learn that I am deserving of love and worthy of someone who will love me despite my baggage and insecurities!" So it can read as for Eddie or Buck or both.
This part is my fave:
Every time I stumble for you Two steps back and one step forward And now I'm fallin' down more than I'm fallin' for you But I adore you, I adore you
Next one is Flame!!!! The feel good song!!!!!! Finally moving on!!!!!!! Happy and upbeat, kinda silly:
We should put on our favorite records Pour a little whiskey too early in the day We could blame it all on the weather Swear the connection was better in LA
We could use our imaginations to make up a confrontation For the sake of something goin' on We should put on our favorite records If we're lucky, turn tonight into a love song
It's alright Gonna stay right here 'til it hits us Even if it takes all night Gonna find the flame we've been missing, baby
It's actually "a song about having a hard time writing a song" but true to the lyrics, it literally turns into a love song out of context lmao. It actually feels kinda friends to lovers tbh, two people fucking around in a hotel room trying to have fun with each other, using their "imaginations to make up a confrontation" stirring up fake drama just to get a little "friction" going (this feels very "wanna go for the title?" to me) until they find the "flame they've been missing".
And then Evergreen, an actual love song. After Flame, it just feels like they've "found the spark" and now Eddie at least is falling for Buck, who is obviously the "sun knocking at [Eddie's] door" and the fuel to Eddie's fire and the "evergreen" crashing through Eddie's walls 😭 Just Eddie vibes fully leaning into his new love, finally realizing that he could have a life with Buck:
Took a while to make this bed Tired of livin' in my head The ritual, things I ain't know Never felt like this before
Sorry that my heart's a mess But you keep me from spirallin' And I guess when it rains it pours 'Til the sun knocks at your door
Oh, I think that I could love you Through the darkness, through the cold
'Cause I'm feelin' somethin' when you're next to me You fuel my fire like some kerosene We're intertwined with nothin' in between Cross your heart, promise you'll never leave
I'm feelin' somethin' when you're next to me I have walls up that nobody sees But you crash through me like an evergreen Cross your heart, promise you'll never leave
Thanks for reading this wall of text 😭 Last Communion is a masterpiece honestly, it's been a while since I've heard such heavy lyrics, it was literally begging to be analyzed and it just happened to be perfectly in line with my obsession with Eddie's current arc and now I love the song even more. I really hope they get together in S8.
submitted by Healthy_Eggplant91 to buddie [link] [comments]


2024.06.10 00:32 Better_Trifle3221 I hate being a mom of two.

I only wish I stuck with the one due to my health and financial hardship.
My first is 7yr old right now. My youngest just turned 2
I went through multiple miscarriages between them I was on BC. Turned out BC had the opposite affect on me 😭 With BC I'm extremely fertile. Without it I don't get pregnant. Very odd. (I tried them all except the depo shot) When I got pregnant with my 2nd, I got Covid in 2022. I'm still suffering the affects to this day.
I went blind, my retinas are destroyed, I have black spots in my vision now, no cure and no name for my condition, apparently it's really rare, so rare there apparently no other cases like it. We know it's not related to my pregnancy and they are unsure it was from Covid but confident it was because I was severely sick, I was getting passed around to different specialists trying to find some kind of answer, none could provide. I traveled across states to find at least a diagnosis to no avail. Apparently it's never been seen before I also developed a low immune system. POTs and much more.
My husband make to much money for state assistance, but doesn't make enough to cover the basics, bills, gas and food. So it's hard to afford diapers, clothes, and everything else a baby needs. We live in a crowded apartment and my kids share a room. It's crazy because this is the most my husband ever made an hour working in IT. Thankfully both my babies are the same gender and I kept a good bit of clothing through the 6yrs I had my oldest but that's just the tip of the iceberg. I also do not have family support. I can't drive and it's hard to work due to my eyes. Since there is no name for my condition and it's unknown how permanent it is so I do not qualify for disability. And I can't apply for temporary disability assistance due to the uncertainty of my condition.
It's very frustrating, I'm starving myself to keep food on the table. With my POTs I get dizzy and sometimes go completely blind for a few hours after standing too quickly. And my energy is almost 1 to nothing. I can barely walk up the steps to get to our apartment.
I love my babies. I definitely love my 2yr old. Thankfully she was not affected in the womb when I got Covid.
I feel guilty feeling this way and I'm so thankful I was able to have another after losing hope. And if I could have my health back and keep both my kids I would take it with no hesitation!! But sadly there is nothing that can change our situation unless my husband starts making $35hr and that simply seems unrealistic. Or I finally qualify for assistance and that's already been shut down multiple times.
I just hate that I cannot be the mother I once was with my oldest, and my youngest will never get to know that mom. I used to be so devoted and go over and beyond being a mom. I love being a mom But now it's hard to get up or even move. I have to constantly give my eyes rest since they are working overtime to make up the areas that I cannot see. I move around like I'm 80 due to fear I might pass out or collapse due to my health.
I don't know what to do. Any options I think I have ends with no help or solutions.
I feel like I'm failing my family.
I hate myself, my body, my health and the economy so much.
I want to provide, teach and love my babies. And I cannot do that. I'm a failure as a mom. I cannot find the answers I need to help them.
submitted by Better_Trifle3221 to offmychest [link] [comments]


2024.06.10 00:01 Pineapple_Empty Last day to submit to call for unperformed, under-resourced composers!

Now entering its 4th year, the Evan Erickson Music “2024 Call for Scores” initiative aims to provide for a community of composers who are lacking the resources to hear their music performed by real performers. These composers are often overlooked for a multitude of reasons:
Most composition opportunities and competitions that show up are specifically aimed at finding “the best” composers to commission, which limits so many talented voices around the world from simply experiencing the joy of hearing their music performed. Just because they might not be as privileged as a student at a top United States conservatory, it does not mean their voice does not deserve to be heard and recognized. More resources need to be invested in cultivating interest from early-career composers, and this opportunity has been a platform in finding composers from all sorts of unique backgrounds who have heard few to none of their pieces ever performed live (e.g. a composer with no music education working at Target, an ex-industrial engineer who experienced a health crisis pushing them out of their career entirely, a retired IT worker…).
Since starting in 2021, this initiative has been able to help bring 14 composers (1/2 of them representing non-US countries) receive one of, if not, their first-ever composition premieres. The opportunity has received roughly 400 submissions from deserving, unknown composers representing more than 50 countries around the world.
In order to provide unknown composers with great prizes, give exposure, and allow their music be brought to life by real instruments, this opportunity is seeking composers from anywhere in the world who have heard no more than 5 of their pieces premiered across their life to submit (not including self-performed premieres). Please contact Evan at [evanericksonmusic@gmail.com](mailto:evanericksonmusic@gmail.com) if you do not meet this requirement, but you still feel you deserve consideration for this opportunity.
A $5 to $10 donation (or what you can afford) is STRONGLY requested along with your application to support the project’s longevity for years to come, allow Evan to continue presenting the opportunity at national conferences to inspire more performers to create opportunities like this, and cover administrative costs (e.g. Evan’s time judging every entry, website costs, fiscal sponsorship fees). But, there is no entry fee so nobody applying is left out or discouraged from applying.

3 COMPOSERS WILL BE SELECTED TO RECEIVE THE FOLLOWING PRIZES:

submitted by Pineapple_Empty to composer [link] [comments]


2024.06.10 00:01 SubstantialMonitor63 Getting pregnant on calorie deficit

Hi everyone. Im extremely obese, almost reached 140kg which was a big red warning for me.
For the past 2 months I have been more considerate about what I eat since my problem never was the amount but the calories overall. I used to skin breakfast, lunch and my first meal of the day usually was unhealthy dinner. I also struggled with drinking enough water.
A month ago I started counting calories and being in calorie deficit. So far my results are around 7 kg reduction.
Before - I’ve been taking contraception in year 2018 and in 2019 i switched to hormonal IUD. Good married meanwhile and decided to come off any contraceptions thinking I probably wont be able to conceive before I loose weight.
Oh well not even 6 months after removing the IUD and not trying to conceive, yesterday I decided to take a pregnancy test and found out I am most likely pregnant (2-3 weeks) and had 3 positive test, no negatives.
Mentally I am ready to have kid but I am veeery scared because of my weight. I know it is early but I fear for myself and the baby. I have bad thoughts and would love to he happy but instead I am scared.
Husband is very happy and I just worry that I will harm our child because of my weight and I worry that I will gain more than I lost just now. I truly feel better, am more active and I thought I might reach at least 90kgs before something like this happens. :(
Is there anyone who lost significant weight while pregnant? I know some gain from the pregnancy must happen, but can it happen while I lose my body fat? I want to stay active and being in my calorie deficit.
I dont want to feel how I used to feel for past 4 years when I gained all of this weight.
I am that type of person that almost canceled my wedding because of my appearance. Ive tried every diet possible in my teen years and early adulthood and this is finally something that makes me feel good and I feel like I cant keep doing that without being deprived.
Thank you for your tips and opinions.
submitted by SubstantialMonitor63 to ObesePregnancy [link] [comments]


2024.06.09 23:51 Lops-eye-ded How do I (F29) and my mother (F46) best survive and surveil my Grandmother (F68) while she lives with us? (Does anyone know of a good free keylogger for iPhone?)

(Sorry for the length! I’ve cut so much out already)
Who? (Me: Narrator) (Mom: Mom) (Grandma: Barb)
Before we get into it, I’d usually be against this level of invading-someone’s-privacy, but the situation is not “usual” from my perspective. Barb is a drug addict (currently in detox, and as a requirement of staying with us will attend and complete some kind of treatment, otherwise she won’t be allowed in our home.) I’m a nanny, so children are in the house and under my care weekly, and my mom is coming up on 6 years sober. Needless to say, her pills aren’t going to come in here or she has to leave. Bottom line. We’re going to have an extremely tight leash so if she tries some BS she’s out before the drugs even have a chance to come in.
The story so far: Barb is being evicted from the house she’s rented for over a decade for a litany of reasons, but has seen it on the horizon for a while. Mom’s been trying to get her into a retirement community for almost a year, but is only met with excuses. Her date to be out and gone was supposed to be today. We’ve been packing all week and went over yesterday to get everything moved (Storage, donation, garbage, what little is coming to our house), but she wouldn’t wake up - not to my mom’s calls, ringing the doorbell. We “broke in” the back and got up there. It took screaming to wake this woman up. And you could tell she was high as a fuckin kite. (Usually she’s functional, but irritating). A few minutes later she’s throwing up and wailing that something’s wrong, that she’s “dying,” but not letting us help her. The paramedics are called, she’s taken to the hospital, and we’re floored how bad she is (Mom called that she had a habit, but not how bad it had become). We pack up and move only what’s coming to the house before my mom goes and checks on her. Eventually Barb reveals that she’s been on a handful of different pain medications for 15ish years. That one of her friends has been selling them to her (we think it may be more than just her), and all the while she’s been treating my mom like absolute dog shit.
Mom breaks it down for her then- she goes to detox and treatment, or she has to sleep in her car for all we care. We’re taking care of her dog, doing all of her moving and planning for her, figuring out the logistics of where she’s going and what her insurance is going to cover. She’s going to stfu and go, or we wash our hands of all of it. Those are the options we’re offering.
For now, Barb is reluctantly agreeing.
Extra Info: If it’s not clear, I do not like this woman. My mother is a saint and is beyond bending over backwards. She is fully breaking herself in half to help a woman who has used her, verbally abused her, abandoned her and my aunt at 3 & 5 y/o, and still presents them as trophies as if she has any right to claim a part of the women they’ve become. She makes me sick.
I’m here asking for advice to help support my Mom, because she needs it and she DESERVES it. She’s put in the work to deal with her own addiction struggle and maybe she just wants her own mom to feel what she feels. Maybe she wants the moment she and I had when she was clear headed, when I was able to sit down and tell her it was nice to meet who she really is without the barrier that was between us my whole life. It’s not my job to understand, it’s my job to get behind her and help like she’s done for me so many times.
SO. Barb will inevitably live with us for some months while we wait for an appointment to tour apartments for her. Here’s where I’d like Reddit’s help.
  1. What is a good (preferably free, if not cheap) keylogger for her phone? (He have it right now because it’s not allowed in detox, and we need to talk to her landlord, get her storage unit info, block her dealers, etc. While we have it we’re going to put up safeguards so she can’t reach out and get high in our home - not for long-term invasion of her privacy).
  2. I have very little patience for barb. While I don’t initiate hostility, I don’t lie to her either. I’ve told her before that her behavior is worse than the kids I watch and that she’s miserable to be around when she’s asked why we aren’t close. How do I keep the house peaceful so my mom doesn’t have to be the referee between us? What are some tools/communication strategies I can use to make clear I’m not someone she can lean on while making things as easy as I can for my mom?
  3. Are there any other preemptive measures we can take to make sure she doesn’t bring drugs into the house?
Any and all advice is welcome even if I didn’t clearly ask in the post. I trust Reddit has more and better ideas than I can think of right now. I’m exhausted.
TLDR: My drug addict Grandmother is moving in with us. What steps can we take to keep pills out? What can I do to best support my mom through this? How do I remain at least mostly positive until she’s gone?
submitted by Lops-eye-ded to relationship_advice [link] [comments]


2024.06.09 23:25 Zestyclose-Charge281 Grampa is "punishing" my dad. I have the power to stop it, but don't know if I actually want to.

I'm using a throwaway because if any of my friends or family see this, I don't want them to know my main account, since I have some very private things on there.
I (f21) lost my mom when I was 14. Dad remarried when I was 17. My stepmom has a daughter (f15), she and dad had a boy(m3), and now she just gave birth to a little girl.
Anyway, I have worked since I was 16, to have so money to buy stuff for me. When I turned 18, dad said I was now an adult and should start paying rent. It was "only" 500 dollars. A symbolic amount since he would still cover food and other essentials. I was mad and we fought, but in the end I accepted and that was the arrangement until 7 months ago.
Dad came to me saying I had 2 months to move out, stepmom was pregnant and they would need my room for the baby. Which is insane because they both have private offices. My stepmom doesn't even need one since she's a SAHM since the birth of my baby brother. Nonetheless they told me I had to move.
BTW, just an addendum: Me and Stepmom get well fine. We don't fight or bicker. I don't think this was a evil stepmom moment, but who knows? Me and stepsister are actually pretty close, I help her with homework, and talk about her personal problems, I do love her very much.
Back to the story, I didn't know what to do. I'm going to a college, (I want to be a civil engineer), and work part time. I don't have the means to live by myself.
I called my aunt, asking if I could move in with her for the time being, until I figured something out, offered to pay rent and all. She was aghast at what dad was doing, she said I absolutely could live with her, no rend needed, but also said she was gonna deal with my dad.
The next day Grampa came to our house, and they talked privately, I could hear my dad angry voice, but couldn't understand anything being said. After a while Grampa came to my room and said I had 3 choices. The first was continue living with dad and stepmom like I was doing, nothing would change except without paying rent. The second was moving in with him and grama, or my aunt. Third was find a place of my own and he would pay the rend and costs for me.
He said I didn't need to choose now, I could keep living with dad and if I changed my mind to just tell him. I was actually relived I could still live with dad, and that this madness was over. But the following days and weeks, dad and stepmom were very hostile towards me, and I felt incredibly uncomfortable being in my own home. Even Cassie pick this up and asked me why they were angry at me.
So I decided to move out and told grampa. He said he would take care of everything... few weeks later he moved me in into ones of his rental units. The apartment is lovely, he bought me a fridge, stove, and other essential itens, he gave me a check for 15000 saying this money is to help me start living on my own. And that as long as I am working or studying, I can live there rent free, for as long as I want.
My dad and I have been pretty low contact since I moved out. He never came to visit me, or I visit them. I miss them a lot, specially my step sister, but am still hurt.
Two weeks ago, my stepmom gave birth, I visited them in the hospital. It was a little awkward, but nice seeing them and my baby sister. Anyway, few days ago dad calls me, saying he misses me, the children misses me, and I should move back home. He apologized for asking me to move out, etc etc etc. And I told him I would think about it.
Yesterday I visited my aunt, and was telling her what my dad said, and my cousin laughed a little and said "I'm sure he does...". I asked what he meant, and that's when they told me a lot of, until now, unknown information.
Basically, my dad's home, is actually my grampa's. (As is my aunt's). Basically the deal he made with me, he did with all his kids and some grandkids as well. He never wanted any of his family to have to worry about basic stuff like house, and food, etc.
When I called my aunt that time, she called grampa, which was furious with dad, not only for kicking me out, but also for charging me rent. That day he went to my dad's and tore him a new one, and threatened to have him evicted.
But now the "petty" part, you know that 15k grampa gave me? It's actually what I paid dad in rent all that time. And now he's making dad pay him back. Also... he's charging dad 1200 dollars for the rent loss in apartment I'm living in.
Call me dumb, or naïve, but until now, I never realized my dad didn't make that much money. We lived in a great house, always went on vacations, and lived very comfortable lives, but I guess grampa has always been helping behind the scenes.
Now my cousin thinks dad is struggling, with 3 kids at home, a single income, and having to pay it back to grampa. So he says Dad wants me back, because he imagines grampa will stop "punishing" him if I'm back living with them.
Honestly... I don't know what to do. I'm actually loving living on my own these past 6 months. But I do really miss them, I miss my siblings. I miss the life we had before all of this, but I don't know if moving back home is the right answer, and also... I'm hurt the reason he wants me back is money.
Honestly... I just wanted to vent.
submitted by Zestyclose-Charge281 to TrueOffMyChest [link] [comments]


2024.06.09 23:22 Pazzberry101 Notes from the Frigate Beta Test (04/30/2024): Celestial Armada

Hello everyone! I was given the okay to share the notes and sheets I made to learn about the new race, the Celestial Armada. Yes, I am that kind of dweeb.
What follows is the post I made in the play-test section (only available to founders at the moment (?) to help everyone make sense of the new race as being dropped a new funny race with new funny units is a lot to take in all at once. Since everyone is curious about how they play, and of course, drawing similarities to Protoss from StarCraft, people want to know how they work and how they differ.
I want to emphasize that all of these notes were made during the "Frigate" play-test which took place back in April and lasted until late May. The early access release of the game is going to feature a ton of changes in the numbers, balance adjustments, and of course, units that don't exist yet. The amount of changes between the previous play-test and the one I am sharing now was substantial setting aside fact that they dropped a whole new race
If you want my notes on the other races, let me know. I also made those.
Howdy, call me Paz.
I am the sort of loser who will spend the first five hours of a fresh new close beta making a reference sheet with all of the units stats. Apologies if there are any errors in it, I promised I double checked all the numbers but I wouldn't be surprised if there is an error somewhere in there. I hope it's all presentable and digestible. No idea how long these numbers will stat accurate due to patches. For everyone else, I want to lay down Celestial macro basics because I was a bit confused by all of their funny mechanics, and I wager many more people will be confused by all of their funny mechanics:
I think that about covers it. I don't have a single idea about what popular builds will sprout from these mechanics, I think this faction most of all has the most potential for shenanigans considering all of their econ buildings can uproot and just go somewhere else. Thanks for reading, and I hope the sheet is useful.
Tier 1 Units
Tier 2 Units
Spells
submitted by Pazzberry101 to Stormgate [link] [comments]


2024.06.09 23:09 the_modernleper [NY] Paid/protected unpaid maternity leave rights after being laid off (NY State)

Hi all. I am trying to understand what my remaining options are for any form of paid (or protected unpaid) maternity leave in NY State. I think the answer is no but wanted a second opinion. Seems like my only option would be a generous new employer who would be willing to cover me and/or has no limit to the amount of time worked before offering mat leave.
Location: NY State.
Background:
  1. I am currently pregnant with my first child, due November 20th of this year.
  2. I was laid off by my employer last week (full time work, non-union, 2+ years)
  3. My former employer was not aware of my pregnancy.
  4. I am starting my job hunt immediately for more full-time work.
  5. Based on what I'm reading about NY Paid Leave Act, I would not qualify for NY's Paid Family Leave act because I will not be able to work for the qualifying 26 weeks of employment before I give birth (and need to take leave):
    1. Covered employees become eligible to take Paid Family Leave for a qualifying event once they have met the minimum time-worked requirements:
      1. Full-time employees: Employees who work a regular schedule of 20 or more hours per week are eligible after 26 consecutive weeks of employment.
  6. I believe FMLA only covers those who have worked for the employer for 12 months, and that's for unpaid leave.
Thanks all.
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2024.06.09 23:07 ForestyFelicia Going through a very challenging time

Starting out this post by saying I am only looking for the most kind, supportive, and gentle feedback. Only nice people please. Please no bashing of me or my partner in this post (even though he does deserve it lol). And no moral-based opinions either please.
So I have been going through a very difficult time in my marriage as it is. We just hit the 1 year mark and came back from our anniversary trip. I found out last week as soon as we returned that I am 5 weeks pregnant. We are planning to terminate the pregnancy this coming week.
I am very overwhelmed at the moment. I didn't really want to have children of my own, but that doesn't mean I am not struggling with this decision or fully at peace with it (still, please do not try to talk me out of it). It is a mixture of emotions: shock, sadness, fear, confusion, resentment, worry. This little bit of pregnancy has already been unpleasant, as I am struggling with lots of nausea/appetite issues, tiredness, tender swollen breasts, and just not feeling like myself emotionally. I already have health challenges, and pregnancy doesn't help matters.
One big battle we have faced in our marriage is his ex dumping the kids on us and not sticking to the schedule. This bitch can't just take care of her own children that she claims she loves fiercely, and the last thing I want right now is to be around kids and have to worry about their needs and hide the fact that I am going through something shitty. She will happily dump the kids on us when she has car problems she can't fix for over a month or decides to leave the state, but I am going through an abortion and asking her to keep the kids extra days wouldn't be an option because she just truly sucks as a mother. Useless in-laws too that take up so much of our time but never offer to help with the kids.
I finally told my husband the only contribution I am willing to do for his kids is cook dinner twice a week, so that my schedule and responsibilities surrounding them are consistent regardless of how many days we end up having the kids. I am concerned that since Father's Day is Sunday, his ex will try to bring the kids earlier (not for our sake, but for hers) which will be a few days after my abortion process is supposed to take place. I shouldn't have to think about his kids at all right now. And his ex should be helping us as this is an actual "emergency" and time when children shouldn't be involved/around. Her emergencies are never emergencies but just irresponsibility and chronic poor foresight/planning. I should not have to fake or cover up any of what I am feeling right now. I am angry at my husband for allowing this to happen. I won't go into the details, but this pregnancy is 100% his fault.
I am exhausted. I want to do couples counselling immediately. I am tired of dealing with this chaos and drama. I'm too good for this. I know that sounds stuck up, but I was not entangled in all this nonsense.
submitted by ForestyFelicia to stepparents [link] [comments]


2024.06.09 23:05 Dovah1 [US-GA] [H] Star Wars, Batman, Marvel, DC, Image Floppies/TPBs/HCs, Original Art [W] Paypal

Hi everyone! Trying to do some last minute comic-con fundraising. I'm open to offers and willing to make some deals if you're interested in multiple books. If you want pictures of anything let me know! All of the original art I commissioned myself directly from the artists at various conventions. If you want to know the show and year I can certainly figure it out for ya.
Shipping is not included in prices, its $6 for Media Mail and $8 for Priority. I can ship media mail for the TPBS and HCs, but have to ship Floppies Priority :( Since shipping/packaging prices are so high, all orders must be above $20. Some items are crossposted. Let me know if you have any questions! Thanks!
MARVEL:
(2021) Moon Knight 1-23 (Annual 1+Devil’s Reign 1) $55
(2022) Star Wars Obi-Wan 1-5 $12
Taskmaster 1-5 (3 is Second Printing) $12
Deadly Neighborhood Spider-Man 1-5 $22
Spider-Man: Spider’s Shadow 1-5 $18
Marvel Universe vs The Punisher 1-4 $8
The Incredible Hercules 126 $3
Marvels 1 $4
(2020) New Mutants 1-10 (1 is Artgerm Variant) $15
(2020) Iron Man 1-6 (3 is Veregge Cover, 6 is Brown Cover) $20
(2019) Guardians of the Galaxy 1-12+Annual 1 $20
The Punisher Meets Archie 1 $5
Avengers AI 1-12 (Full Run of a Fun Underrated Series) $15
(2022) Hulk 1-14 $25
Incredible Hulk: Future Imperfect 1-2 (First Maestro) $25
Sensational She Hulk 1-2 $20
(2014) She Hulk 1 $5
(2022) She Hulk 1-13 (1 is Hughes Variant) $30
Fantastic Four 323 (Kang!) $5
Fantastic Four: Life Story 1-6 $15
Thor 283 $5
(1979) Man-Thing 1 $12
Marvel Super-Heroes Presents 17 $14
Star Wars Age of Republic Special (First Ahsoka in Canon) $10
(2016) Star Wars Doctor Aphra 1 $10
(2020) Star Wars Darth Vader 1-15, 19x2, 17-23, 25-34 $110 (Low Print Run, read once and bagged/boarded. Not a lot of examples to compare for a lot price on this so let's talk price if my number doesn't work for you)
(2021)Star Wars High Republic 1-15+10Signed Jeanty Variant (Lots and Lots of First Appearances), (6 is signed by Georges Jeanty and Karl Story) $75
(2021)Star Wars High Republic Adventures 1, 3-12+ Galactic Bake-Off Spectacular (More First Appearances) $45
Star Wars High Republic Adventures: The Monster of Temple Peak 1-4 $20
(2022) Star Wars: The High Republic 1-7, 9 $15
Star Wars: High Republic Trail of Shadows 1-5 (3 signed by Dave Wachter) $12
Star Wars High Republic Eye of the Storm 1-2 $12
-Take all High Republic Books for $165
(2022) Hulk 1-14 $28
Dark Ages 1-6 $10
Jane Foster: Valkyrie 1-10 $15
(2011) Punisher 1-8 $8
(2014) Punisher 1-5 $5
Punisher: No Escape Prestige $5
(2017) Iron Fist 1-7, 73-80 (Full Brisson Run) (1 is Fried Pie Variant) $20
(2014) Secret Avengers 1-4 (1-3 are signed by Tradd Moore) $12
(2013) Morbius the Living Vampire 1-5 $20
Original Sin 0-8+Annual (8 is Wraparound Variant, Annual is Francavilla Variant) $12
(2013) Nova 1-20, 23 (1 is signed by Dexter Vines) $35
Spider-Man Deadpool #1 Fried Pie Variant $8
Deadpool Versus X-Force 1-4 $15
Deadpool 49.1 (The Musical!) $5
Deadpool: Suicide Kings 1-5 (3 is 2nd Printing Variant) $18
Deadpool’s Art of War 1-4 $20
(2014) Silver Surfer 1-15 $35
(2016) Silver Surfer 1-5 $12
Superior Iron Man 1-8 (1: Young Variant, 6: Wu Variant, 7: Shannon Variant) $25
Captain Britain and MI13 1-15 (Issue One is Damaged) $20 (FULL RUN)
Daredevil Yellow 1-6 $18
(2005) The Sentry 1-8+1 Rough Cut $15
MAX Born 1-4 (Great Punisher Story) $12
The New Mutants 19 $5
1991 X Force 2 (2nd Deadpool appearance) $5
X Factor 19 (1st Horseman of Apocalypse) $5
The X-Men vs. The Avengers 1-4 $12
Wolverine Origins 1 $5
Wolverine Origins 28 $5
Kitty Pryde and Wolverine 1-6 $15
TBPs/HCs:
Marvel Zombies: Battleworld TPB $5
Weirdworld: Warzones TPB $5
Poe Dameron Vol 1-5 (Full Run) $35
Doctor Strange: Season One HC $10
Iron Fist: Phantom Limb TPB $5
The Incredible Hercules: Against the World TPB $5
Deadpool Kills the Marvel Universe TPB $10
Rocket: The Blue River Score TPB $10 (Great Story!)
Friendly Neighborhood Spider-Man TPB Vol 1-2 $22
(2015/Gillen) Star Wars: Darth Vader OHC Vol 1-2 $50
(2015/Aaron) Star Wars OHC Vol 1-3 $50
Black Panther OHC Vol 1-2 (Vol 1-2 Signed by Brian Stelfreeze, Vol 2 Signed by Wilfredo Torres) $20
Thor God of Thunder Hardcover Volume One (OOP-Light Dust Jacket Damage) $15
(2011) Ghost Rider by Daniel Way Ultimate Collection (Some Bending on Back Cover) $25
The Vision Complete Collection TPB $20
(2020) Black Bolt Hardcover $70 (OOP)
Ireedemable Ant Man TPB $20
DC:
Infinite Frontier 0-6 $15
Justice League Incarnate 1-5 $10
War for Earth-Three Lot: $50
I was hoping to sell this as a lot since the stories overlap some, but if you're interested in single runs let me know and can work something out.
Gotham City: Year One 1-6 $18
Batman 124-135 $25
Shazam 3 (Cho Variant) $3
Batman Catwoman: Follow the Money $5
Full Tynion Detective Comics Run: 53 Books $120
934-981 (All Albuquerque Variants other than 963, 968)
994-1009 (Minus 997) Beginning of Tomasi Run 14 Books$30

Multiversity 1-2, Society of Super-Heroes, The Just, Pax Americana, Thunderworld, Guidebook, MasterMen, Ultra Comics (Full Run of Morrison’s Story!) $20
Flash Forward 1-6 $8
DC Future State: $40 for the Lot!
Titans United 1-7 $15
Titans United Bloodpact 1 (Molina Variant) $10
(2015) Doctor Fate 1 $5 (First Khalid Nassour)
(2010) Batman: The Dark Knight 1-5 $10
N52 Detective Comics 27 $5
Batman: Europa 1-4 $10
DC First: Batgirl/Joker $5
Batman: The Detective 1-6 $12
Uncle Sam and the Freedom Fighters 1-8 $10
Wonder Woman 770-780 (Full Afterworlds Storyline) $20
Human Target 1,3,5,6 $15
Flashpoint Beyond 0-6 $15
Black Adam: The Dark Age 1 $5
Forever Evil 1 NYCC Variant $5
Green Lantern 116 $8
Green Lantern 80 $15
Green Lantern 78 $12
Green Lantern 79 $12
(2011) Batgirl 1 $5
Flashpoint 1 $5
New Titans 99 (First Roy Harper as Arsenal) $10
(1982) Swamp Thing 21 (See Condition) $12
JSA All-Stars 4 (First Courtney Whitmore as Star Girl) $5
(2006) Blue Beetle 1 $10
Green Arrow: The Longbow Hunters 1-3 $12
DC Vs Vampires Lot: $50
TPBs/HCs:
Buy Joker, Harleen, and Hellblazer for $25
N52 Dial H for Hero Deluxe Edition $15
Aquaman Unspoken Water HC $5
Gotham Central Vol 1 TPB $5
Joker HC $5
Sandman: Preludes and Nocturnes Volume 1 TPB $5
N52 Shazam Vol 1 HC $8
N52 Batman Volume 1-5 TPBs $30
Batman Year One TPB (1988 First Printing) $10
Batman: Earth One HC Vol 1-3 $25
Teen Titans Earth One HC Vol 1 $5
Wonder Woman Earth One HC Vol 1-2 $10
Batman: Broken City TPB $12
Batman: Arkham Asylum 15th Anniversary Edition TPB $10
(2012) Green Lantern/Green Arrow TPB $18
Gotham Central Vol 1 TPB $5
Birds of Prey: Murder and Mystery TPB $10
John Constantine Hellblazer: City of Demons TPB $12
Superman: Birthright TPB $10
Justice League: Last Ride TPB $10
Superman: Reign of Doomsday TPB $20 (OOP)
Superman: Unchained HC $5
Superman Smashes the Klan TPB $8
Suicide Squad: Bad Blood HC $12
DC Archive Edition: Brave and the Bold Team-Up Volume One HC $15
Power Girl: A New Beginning TPB $12
Grant Morrison Batman Lot: $60 (Good Start to Collecting the Full Run!)
Batman R.I.P. TPB $10
Batman: The Ressurection of Ra’s Al Ghul TPB $15
(2014)Batman and Son Expanded Edition TPB $15
(2012) Batman Incorporated Deluxe Edition HC $15
New 52 Batman Incorporated HC Vol 1-2 $30
Cosmic Odyssey Deluxe Edition HC $20 (OOP!) (Small Cut on the Cover, Pics Attached)
IMAGE/DARK HORSE/OTHER:
Crossover 1-13 $28 (Full Run)
Rogues Gallery 1-4 $15
BANG! Variant 1B (Signed by Matt Kindt and Wilfredo Torres) $20
(2002) Star Wars Jango Fett $5
Star Wars Hyperspace Stories 1-3 $5
Star Wars Han Solo and Chewbacca 1-6 $10
Tokyo Ghost 1-7, 10 (1B Variant Cover) $35
What’s the Furthest Place From Here? 1-5 (1 is Martin Variant) $20
Primordial 1-6 $15
Irredeemable 1 $25
Promethea 1 $5
Geiger 1-6+80 Page Giant $15
Judge Dredd: Toxic 1-4 $12
Manifest Destiny 1-8 (1,2 Signed by Matthew Roberts) $15
(2014) Rumble 1-14 (1, 2, 11 Signed by James Harren) $20
Zero 1-18 (Full Run of a Fun Series with Great Art!) $20
Night of the Ghoul 1-3 $10
We Have Demons 1-3 (All Foil Variants) $12
TPBS/HCs:
Doctor Who: Prisoners of Time TPB Vol 1-3 $12
Maniac of New York Vol 1 (Signed by Andrea Mutti) $10
Injection OHC $20
Dracula, motherfucker! HC $10
Irredeemable Omnibus $30
The Black Hood Vol 1-3 $15 (Full Run!) $12
(Dynamite 2009) Zorro Vol 1-2 TPB (Spine Crease on Vol 1) $12
John Wick HC $25
Super Crooks TPB $5
Incognito Vol 1 TPB $5
Black Road Vol 1-2 (Full Run!) $12
Fables Vol 1 HC $8
LOW Deluxe Edition Vol 1-2 $60
Divinity HC $15
Astro City Metrobook Vol 1-2 TPB $35
Madman Atomic Comics Vol 1 $12
God Hates Astronauts Vol 1 (Signed by Ryan Browne) $8
The New World TPB (Signed by Tradd Moore) $20
Homesick Pilots Vol 1 (Signed by Caspar Wijngaard) $10
Pride of Bagdad TPB $5
(Dynamite) The Shadow Vol 1 $6
The End of Summer TPB $12 (2nd Edition)
$1.50 (Each) Comics:
DC
Action Comics 1031 (Variant)
Action Comics 1032
The Flash 768
The Flash 769 (Variant)
The Joker 1
Suicide Squad: King Shark 1
Mister Miracle: Source of Freedom 1
Stargirl: Spring Break Special
DC The Doomed and the Damned
Are You Afraid of Darkseid?
Mysteries of Love in Space
(2021) Shazam 1-4
Sinestro 1
Camelot 3000 1
(2015) The Omega Men 1
(2003) Batman Adventures 11
Batman 652
Batman Rebirth 1 (A and B Cover)
Batman 21, 22
N52 DC 3D Lenticular Black Adam Cover (JLA 7.4)
N52 DC 3D Lenticular Scarecrow Cover (Detective Comics 23.3)
N52 DC 3D Lenticular Two Face Cover (Batman and Robin 23.1)
N52 DC 3D Lenticular Ocean Master Cover (Aquaman 23.2)
MARVEL:
She Hulk 159-163 (Jen Walters Must Die full story)
(2020) Cable 1-4
(2011) The Defenders 1
Secret Invasion: Who do you Trust One Shot
(1988) Silver Surfer 2
Fantastic Four Road Trip
MODOK Head Games 1
X-Men Legacy 9 (Iron Man Variant)
(2002) Ultimates 12
(2021) Venom 8
(2018) Amazing Spiderman 61-62
(2012) Uncanny Avengers 1-2
Fantomex Max 1
2012) Fantastic Four 1
(2014) Fantastic Four 1
(2015 Series 1) Howard the Duck 1
(2015 Series 2) Howard the Duck 11
(2016) Moon Knight 11
Deadpool and Cable: Split Second 1 (Fried Pie Variant)
(2019) X Force 1
New Mutants 86, 90-92, 96, 97, 99, 100, Summer Special
(1992) X Force 6
X Factor 71
OTHER:
Newburn 1-3
Silver Coin 1-2, 10
(2007) Lone Ranger and Tonto 1-4
Adventureman 1
X Ray Robot 1
Fox and Hare 1
(2019) FCBD My Hero Academia
ORIGINAL ART:
(9x12) The Flash by George Perez $175
(9x12) Deadpool by Domo Stanton $30
(8.5x6) Galactus by Darryl Banks $45
(4x6) Doctor Doom by Dave Wachter $35
(8.5x11) Jon Snow by Dan Panosian $50
(11x14) Spider-Man by Nick Pitarra $45
submitted by Dovah1 to comicswap [link] [comments]


2024.06.09 23:01 AutoModerator Daily Chat Thread - June 09 2024 PM

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2024.06.09 22:50 TitanAura The Struggles of Adapting Peak Fiction Under Strict Production Constraints

The Struggles of Adapting Peak Fiction Under Strict Production Constraints
\"But why not do both?\"
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 children chapters to sacrifice in the name of ending the season at a satisfying arc conclusion. Sure you could just adapt at the same rate of chapters-to-screen time as before and conclude the final 12th episode with THAT THING THAT HAPPENS but somehow I feel like doing so would result in death threats being strapped to a brick and hurled through your office windows. You've certainly maintained the integrity of the show's original pacing, but telling fans to sit tight until the next production cycle is ready in another 2-3 years feels like a recipe for disaster.
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 cook

Effectively 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.
submitted by TitanAura to mushokutensei [link] [comments]


2024.06.09 22:49 itsmisspratt Memory Care Spooked Me Today

In my facility, there are 3 halls up front and then our memory care unit in the back that also has 3 halls.
Usually, I am up front more times than not. On the same hall every single day. But they were short in the back so I got pulled ( me being the only one willing ) and went to the back.
I don’t know much about the residents back there and they of course don’t know me personally. Some do from passing by for family visits and such but not enough to count on one hand.
Well today, during my first bed check one of the residents I was assigned to put her hand on my abdomen and said “ baby. “… I brushed it off as she had baby dolls of her own and I thought maybe it was part of her regression.
During breakfast I was helping feed and the lady next to me put her hand on my thigh and told me I would make a wonderful mother and told me that my husband will be glad to know about my pregnancy. Now it was getting a little weird.
Right before I left, one of the few people who know me personally well call Edward. Edward is a chronic non-verbal wonder who really likes hugs. If he sees you, chances are you’re getting a hug from him. Edward walked up to me and pat me on the shoulder, so naturally I turned around and expected a hug. Well, what I got was a hug but then he gave me one of those proud granddad looks and placed his hand on my abdomen and shook his head saying yes and ofc I asked him what he meant by yes and he said “ baby “ .
Now, I am by no means in a physical form where someone will automatically assume that I am pregnant. What these residents don’t know is I have not been able to have a period in 3 years ( thank you Crohns ) but that doesn’t mean my husband and I haven’t stopped trying.
Is this normal for memory care? Has anyone experienced this? Should I take a test? Should I wait? I’m not really sure what to do.
submitted by itsmisspratt to cna [link] [comments]


2024.06.09 22:46 TitanAura The Struggles of Adapting Peak Fiction Under Strict Production Constraints

The Struggles of Adapting Peak Fiction Under Strict Production Constraints
\"But why not do both?\"
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 children chapters to sacrifice in the name of ending the season at a satisfying arc conclusion. Sure you could just adapt at the same rate of chapters-to-screen time as before and conclude the final 12th episode with THAT THING THAT HAPPENS but somehow I feel like doing so would result in death threats being strapped to a brick and hurled through your office windows. You've certainly maintained the integrity of the show's original pacing, but telling fans to sit tight until the next production cycle is ready in another 2-3 years feels like a recipe for disaster.
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 cook

Effectively 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.
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2024.06.09 22:41 Frozen-Dreams The Wanderers (Sequence 7)

The sun’s bright rays beam through the windows, lighting up the room. One by one the teens start waking up, Samuel being the last one, rolling over and pulling the covers over his face. Mr.Richard walks into the room greeting the children.
“Ah hello all. I see you are…mostly all awake and well,” he says, stepping into the room, and taking a quick glance at Samuel.
“Well when you all are ready, and fed, I’ll be waiting in my office.” Mr.Richard gives a smile as well as a quick nod and leaves.
The group of teens look at each other, all giving a “it’s too early for this” look. They all get up and get changed into the clothes that Mr.Richard put in the dressers. They all lazily walk into the kitchen, and just like last night, the table is full of food for the teens to eat. After a hearty meal, they move onward to Mr.Richard’s office. Mr.Richard hearing the door open closes a book and stands up.
“Wonderful, I assume you’re all ready. I know this is all very weird and strange for you, but it is vital.” Mr.Richard begins to say walking to the other side of his desk. Mr.Richard notices Olivia about to say something. “Yes yes, “What are we here for? What are we doing? Well, there is no definitive answer. I know I sound like a broken record, but this-this thing is something I alone couldn’t do. I spent years journeying only to find a dead end. But that’s when I knew that I needed a team, I needed you 5.”
The teens look around at each confused but with a sense of understanding and confidence.
“What do we bring to the table tho? I mean you know about this stuff and witnessed it” Samuel questions.
“You five are brilliant, resilient, creative, powerful, and above all else you’re unique. You all are unlike any others.” Mr.Richard responds looking from his left to right. Mr.Richard gains a smile on his face “You five are the solution.” he says with a single clap of his hands.
The teens look at each other in confusion.
“Solution?” Samuel questions.
“Yeah, the solution to what?” Harrison gives a follow-up question.
Mr.Richard points his index finger on each hand up “That, is for you all to find out”
“What if we're not ready? I mean how do we know we're ready?” Kesher almost doubting himself asks.
“You..are more ready than you know. There will be times when you have to make decisions, tough decisions, but you'll know the right answer. It'll be a winding road, but if you five stick together you all will get through anything” Mr.Richard assures Kesher
The teens give glances at each other with a newfound confidence.
“Now I trust you all, and I believe in each and every one of you five,” Mr.Richard says walking towards a closet. He opens the closet, and there are 5 backpacks inside. One by one Mr.Richard hands the backpacks to the confused group of teens. “Each backpack was made specifically for each of you, everything you'll need is in there,” He said.
“Why is mine so light?” - Samuel asks puzzled “It feels like it weighs two pounds.
“Right, well that’s just yours,” Mr.Richard says to Samuel.
“So you’re gonna send ME out there for who knows how long with basically nothing, and you gave THEM everything they need?” Samuel rebuked.
“Oh of course not, you don’t have ‘nothing’ after all I’m an adventurer, a discoverer not a monster. I wouldn’t send a kid somewhere with nothing.” Mr.Richard commented, “Well I believe that is enough chit-chat, we’ve wasted enough time and it is now your time to start your journey.”
Mr.Richard opens the door of his office and proceeds to guide the group of teens to the front door. He walks the teens outside, and there awaits an SUV. The teens look at the car in awe, with the realization that this isn’t a dream.
“What are you lot waiting for? Come on hurry up, you all have places to be.” Mr.Richard says gesturing to the kids.
The kids walk down the stairs toward the SUV, they proceed to put their bags into the trunk and get in the car.
“Hello, my name is Sherwitz and I am lucky enough to be your driver today,” the driver says as the kids enter the car. A mix of “Cool” and “Hi” is said amongst the kids. Sherwitz looks in the mirror and sees Mr.Richard raising his right hand and nodding in a farewell fashion, Sherwitz nods back. Mr.Richard walks back inside as the car leaves the driveway taking the teens on an adventure they would never forget.
With the teens passing several buildings and landscapes, not a word being said by anyone. But finally, Samuel says something “So, it's actually real? I mean I knew it was real but this like solidifies it.” he voiced looking away from the window.
“Yeah, at every turn I hope I wake up from a dream,” Harrison says back.
“Well hate to break it to you, but this ain't a dream” Olivia contested.
“Well, we've been in this car for a while now” Harrison directs the conversation in a different direction.
Samuel chimes in “Me and my family have a song for long trips we sing sometimes”
Olivia rolls her eyes at the thought.
Samuel begins the song, “We're on the road” Samuel continues “In the car and we've been going far”
Nya perks up, “No way! That's what my family sings too!” She said ecstatically. Olivia joined Samuel in singing.
“Got a destination, don't know the location” they both sing together. Soon after more singing Harrison joins in.
“We're on the road” Samuel, Olivia and Harrison begin soon after Kesher shrugs and joins in.
“Got a destination, don't know the location” the four teens sing in unison. “Past the trees and mountains. Through the hillside. Watch the clouds in the sky, how they pass by.” the teens sing repeating the verses of the song. They go on for several minutes before Harrison notices Olivia not singing and nudges her to join in. Olivia side-eyes Harrison, he then nudges her again and gives a side smile. Before long Olivia rolls her eyes and starts lazily singing. The song is sung over and over again as dozens of minutes pass, the car slowly coming to a stop. “We are here” Sherwitz announces. The teens take a look around. “Are you sure this is it?” Samuel queried. “You all are exactly where you need to be,” Sherwitz reassured. The teens look at each other and back outside, cautiously getting out of the car. As they get out of the car they see a forest with trees for miles. “Remind me to NEVER go on a road trip with you four” Olivia complained. “Oh c’mon you know you enjoyed it” Harrison bantered, Olivia gives him a mean scowl “Or, maybe not” Harrison mumbled while picking up his bag. As Sherwitz finishes helping the teens with their bags he shuts the car trunk and proceeds to say “Not only I, but Mr.Richard, and everyone working with him have extreme faith and believe in each and every one of you. There is nothing you can’t do together, as a team. Your journey may be long and tedious, but no matter the time or challenge, you all will get through it as long as you have each other” he nods and walks to the driver's side door, gets in, and drives off.
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