Make those cool letters

That's Actually Very Cool

2020.03.04 12:27 AcrobaticCommand That's Actually Very Cool

There isn't one single cool concept. Nevertheless, one important thing is that cool is widely thought desirable.
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2014.05.01 01:56 J0j2 Found Pieces of Paper

Photographs of found pieces of paper with writing on them, photographs or discarded cutouts. Appreciate the forgotten artifacts of everyday life. Share any paper that you found (on the ground, stuck in some bushes or between cans of soup at the store for example) and you do not know who wrote it. Love letters, doodles, interesting to-do or grocery lists, notes from the past - share your discovery with us!
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2019.02.07 15:17 griff-mac TheGriffonsSaddlebag

I design new items and other content for your D&D campaign every day, complete with mechanics, illustration, and flavor. Join in the discussion to help balance and make better items for the community.
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2024.06.09 23:12 ME_CPA You Want to Make Money and So Does GameStop: When I Move You Move

You Want to Make Money and So Does GameStop: When I Move You Move
So if you're reading this you were probably kicked in the pants during premarket trading 06/07/2024. Cohen released Q1 earnings early and filed to to issue 75M newly minted shares from the company's treasury. Kitty was taking us to the moon, and the rocket exploded before it exited the atmosphere. So now what? Here's a sober reading of where things stand and where I think Cohen's turnaround is going.
tldr: Cohen is turning GME into a Berkshire Hathaway type company and the share price will rocket to mars if you trust the process.
Take a step back and consider the situation. Shares of a video game pawn shop are the proxy for a battleground on wall street.
Many hedge funds and large whales think the company will fail, and buy puts or take short positions on the stock. Others like you and I think the company's stock is going to go up via a squeeze, or because the fundamentals are rapidly improving under Ryan Cohen's tutelage.
What happened yesterday matters less than what happens tomorrow.
I have a thesis for what Cohen's thinking, and why Friday's moves by GameStop will be good for the stock that you like.
So 75M new shares represents 15% of dilution and raises outstanding shares to 420M (nice). Technically 421M but whatever.
At the end of trading Friday, 279M shares traded. Loud AF volume. Cohen very easily could have completed the 75M share offering selling into that frenzy given that extraordinary liquidity. Including premarket prices, the stock traded between $26-64.
Share activiy 06/07/2024 per yahoo! finance
What this means is:
Racks on Racks
Assuming Ryan Cohen lined up some trades from the line of people that want their hands on shares, we could have sold those 75M shares at a $40/sh average. That means the company just raised a fresh $3 Billion with a B.
Add that to the $2 Billion already in the bank and you got nearly $5 Billion cash and no debt or liabilities.
Assuming Cohen decides to take a nap on that cash pile, the company will generate $250,000,000 Interest Income per year at a 5% rate. THIS IS BIG.
At a minimum this means GameStop will be profitable this year, next year, forever.
Remember back in March 2024, we learned GameStop was profitable for the first time in years?
Source: GME Earnings Release FY 2023
What if we slap $250M of interest income onto the $6.7M of FY 2023 income? We'd have a 2023 net income of $257M vs a net loss in 2022 of $313M. That's a $570M swing in income.
But we are in FY 2024 and we just got Q1 results...and guess what? FY2024 net income is going to crush FY2023, and the media isn't telling you that.
jerk off hand motion
Let's analyze Friday's Q1 earning release (the worst earning report of the year as it follows the holidays).
https://gamestop.gcs-web.com/news-releases/news-release-details/gamestop-discloses-first-quarter-2024-results
We learned: Expenses are shrinking and our Net Loss for the Quarter was $32M compared to $50M the year before. That's a 36% improvement in profitability in a 1 year timespan.
What we should see in the quarters to come is a decrease in expenses as GameStop closes less profitable stores in locations where multiple stores exists. Revenue will decrease yes, but so will expenses, and margins in the remaining stores will grow.
Remember, GameStop was profitable for the year, and with continued cost cuts at retail stores, and with $250M interest income, will may FY 2024 net income of $3-400 Million, or a $1 + Earnings per share.
Cohen is doing the impossible: making GME stores income generators.
So what? I want to shit on my boss's desk on Monday?
Well if you want to make money think like Roaring Kitty and Ryan Cohen. Remember RK is DeepFuckingValue, and he sees value in this play from a fundamentals lens.
Here's what Cohen is doing:
$250M of interest income is cool, but not cool enough. Imagine a quarter or two from now we get a big update from RC and this is what he does with the $5B cash:
example of DeepFuckingValue
A move like this would cause tectonic plates to shift on wall street.
GameStop's cash balance shifting into equities turns the company into a mini Berkshire Hathaway raising the floor on the stock price, eliminating bankruptcy and setting us up to make money on the stonk through capital appreciation.
Say Cohen is as savvy as we think and his investments of GameStop's capital increase 20% and he sells them in a year? 20% on $4 Billion of gain is net income of $800M, $2 EPS. Company now has nearly $6B cash. Rinse, repeat
If you can see my point, Cohen/Kitty see GME as a DEEEEEEP value play.
GameStop can use it's cash pile to leverage it's earnings potential and explode it's market cap. Consider this:
https://preview.redd.it/2i4v8wp50m5d1.png?width=443&format=png&auto=webp&s=1ce021d595a6684083e1ccc19b485febea5a3531
If GameStop can increase it's war chest, our marketcap floor increases. At a $84B evaluation GME shares would be trading at $200 ($800) pre split.
When GameStop makes and raises money, we make and raise money. When I move, you move.
So don't be discouraged about dips. This play is still live, there's value here and I'm invested regardless of any squeeze. This is NVIDIA before it was $1200/share protentional in my opinion.
submitted by ME_CPA to Superstonk [link] [comments]


2024.06.09 23:12 inferno585 Something I noticed about the Night Springs DLC

Idk how much of this will and won't be spoilers so I threw in the tag to be safe.
The "something" in question is the naming conventions in this DLC.
Seeing as how this DLC is based on the in-game show of the same name, it makes sense that these characters we know from the game aren't named. The Waitress being Rose, The Sheriff being Tim, The Sibling being Jesse, etc. Even the background characters have non-names like "lady with seven corgis" or "weird guy with a hat" (can't remember them exactly off the top of my head but it's something like that).
Except for in Time Breaker. You have the Shawn variant named "Branch" a couple times by The Agent (not-Jesse) and you hear Shawn refer to the Director as Sam once or twice audibly. But the biggest exception to this is, the one and only, Door.
He could have been The Mysterious Man, The Pursuer. He could have even been The Master of Many Worlds, as he is referred to a few times throughout. But instead, he is named.
I think this so freaking cool for a couple reasons.
  1. It's confirmed in this DLC, in its own quirky way, that Hatch from Quantum Break is Door, which means he is 1:1. There is no other multiversal counterpart, so a character title is not required for him like with the other characters, whose roles could be filled with numerous other variants.
  2. This decision makes it clear, to me at least, that while everyone else we meet in the DLC is a character, Door is Door. He is no actor, no pretender, no prop for the show. This makes him stand out and accentuates his already-looming presence over the whole RCU
Jesus Christ. I know this DLC may have felt short and disappointing for some and for those people, I'm sorry. But this DLC, for me, was equally parts exactly what I expected and mind blowing like I did not expect. In typical Remedy fasion, I left stun-locked on my couch pondering daily what was just fan fiction (Episode 1), what was an echo of another life (Episode 2), and what was a peak behind the curtain of the greater truth (Episode 3).
Easy 8/10 DLC
submitted by inferno585 to AlanWake [link] [comments]


2024.06.09 23:06 TFarg1 7 Years Ago

7 Years Ago
I don't know if someone has talked about this before, but I'm on pretty regularly and I've never seen anything.

What follows is a long explanation of my reasoning. If you don't want to read it all, skip to the next bolded segment.

Okay, so we all know that Alastor disappeared 7 years ago and that no one knew where he was, why he left, or what he was doing during that time. But what's less reinforced is that Lillith left around the same time. During the first scene of Episode 1, right after Charlie's opening monolouge, she tells Vaggie that her mom hasn't been around for 7 years. Additionally, no one except Heaven (and, to a lesser degree, Lucifer*) really knew anything about where she was, why she left, or what she was doing during that time
*During the phone call with Charlie in Episode 5 he glances at a photo of Lilith when she says "Heaven"
Now, I'm not saying that Alastor was in Heaven or that the disappearances were directly related, but it's suspiciously specific. Because of all this I theorize that there was some sort of upheaval in Hell about 7 years ago. But what sort of upheaval was it?
Clearly it couldn't be an all encompassing thing because "in the last ten thousand years [Charlie's] the first one who's changed this town." Additionally, high powered people like Zestial and Carmilla don't seem to have any idea what happened.
This last fact also rules out something like a war amongst all the overlords, although that would be cool. If Zestial doesn't know what happened to Alastor and is far older than him**, there couldn't have been an overlord conflict.
**Alastor jokes about this during their walk together in Episode 3
However, there probably was a violent conflict involved because, though not directly stated, it's implied that Alastor's battle with Vox/The Vees was around the time he disappeared.
All of this in consideration, I think what happened, and what will possibly be revealed in the next season, is that the Vees made some sort of semi-secret power grab 7-8 years ago, and their main opponent was Alastor. He won a big battle against Vox but lost the larger conflict against the Vees, leading to them becoming as powerful as they are now (hence, the line "You still pissed he ALMOST beat you that time"). The Vees are still seen as up and coming by the other overlords, and aren't respected as much, meaning they probably haven't been powerful for nearly as long as the others.
Of course, Alastor couldn't have lost badly and disgracefully, or people would notice. I think it was a small, behind the curtains type thing where he genuinely only lost a small fraction of his territory.
Now, this next part is a stretch, but I think Lilith and Lucifer might have picked sides in the battle. They were already growing apart, as evidenced by the shot of Lilith taking Charlie away from Lucifer during More Than Anything. It's possible they were more involved in politics then, and so had a stake. This is probable in my mind because, lets be honest, if Lucifer had been shut in for centuries, he'd have a hell of a lot more ducks.
But why would they pick sides? Because they had ties to the Overlords involved. Now, Lucifer (like the other Sins) doesn't seen to collect souls or contracts, since he is inherently blessed with power by his very nature. But Lilith? She's just a human. To be powerful, she probably had to become an overlord. And what do overlords need? Souls. How did she get these souls? Well...
In media and mythology the devil (Lucifer) tends to make deals with human while they live to give them powers. But Lucifer doesn't seem to be interested in those sorts of things in HH. But who would be actually interested and needs souls? Lilith would. She could be humanity's devil in this universe.
This is where everything slots perfectly into place. Who bought souls while they were alive in exchange for power? Lilith. And who probably sold his soul while he was alive in exchange for power? Alastor. Alastor blatantly disrespects Lucifer multiple times during Episode 5, and he wouldn't have done that without some protection, right? What if that protection was that he was owned by Lilith? Someone Lucifer wouldn't want to hurt.

If you skipped the explanation, resume here.

Everything considered, here is the full story of what I think is what happened 7 years ago: Lilith and Lucifer got into a big fight at some point after their seperation and basically fought a cold war with people who owed them favors or souls. Some of their primary people in this were Alastor, owned by Lilith, and the Vees who probably owed Lucifer a favor or something. Alastor more or less beat the Vees, but Lilith lost the larger war against Lucifer. Still angry at her, Lucifer kicked Lilith out of the Pride Ring, or maybe Hell entirely. Concerned for her safety, Lilith sought refuge at the Heaven embassy and somehow bartered her way into Heaven. Because she left, or maybe as part of the deal, she pulled everyone she owned out of the mainstream of Hell. I don't know where they went, but she moved them all somewhere. After Lilith left, Lucifer felt bad and sank into a far deeper depression than ever before. Now, with exterminations being shortened, something about her deal changed, leading her to release all of her sinners back out, hence the return of Alastor.
Feel free to tell me what you think down below or ignore this entirely. This is just my crack theory from rewatching the show again.
submitted by TFarg1 to hazbin [link] [comments]


2024.06.09 23:05 kimin_qwk I like my classmate for almost a year now and I don't know what to do.

I like my classmate for almost a year now and I don't know what to do.At the moment, I have 14 boyfriends that I like too, let's call him David. David is my classmate and it's terrible, but if you saw his appearance, you would understand why I like him (literally half of my small town likes him). Let's start from the beginning, my friend and I will call her Sarah. Sarah and I were walking in the park and decided to go to the city to buy ice cream until here I see David, whom I already liked at that moment, with his friend (I still don't know what his name is) were walking towards us our dialogue - Hello, Sara and I greet them. - Hello, says David - Hello, by the way David loves one of you - says David's friend. We stand in shock, it was obvious that David was embarrassed for his friend. But I am not one of those people who will remain silent in such situations, so at one moment a phrase comes out of my mouth - Hm.. Then I sympathize with him (David) After my words, we turned around and entered the store, Sarah and I were in shock. The next day I decide to text him like "What the hell happened yesterday?" so I'm asking Sarah for his phone number. I wrote to him and he replied in almost a minute - Why don't you understand jokes!? I, in turn, wrote - I understand only normal jokes. After that, we started a correspondence (I won't go into details because it will take a lot of time). The correspondence lasted for 6-8 months, after which on March 25 he wrote that he did not want to communicate anymore. I took it hard but wrote him back, something like that - Okay, write if you change your mind. he wrote back - I won't change my mind.. I wrote okay and threw it in the archive and telegram. Exactly ten days later he writes to me -Hello - Do you still play in mine? - I repaired the computer. -? I was in shock (when we corresponded, I often mentioned that I play minecraft with Stacey). I answered him something like this - What difference does it make to you, you don't talk to me!? - I'm not talking, I'm just asking. He answered. Sounds like a pure lie, hmm.. wants to seem like a bad boy who can manipulate me but no. I am one of those people who write first, and he obviously thought that after that day I would continue to write to him, but I did not write. He did this several more times but I ignored him as he had ignored me before.But after the end of the correspondence, we started talking at school. I just don't understand him, sometimes he's so nice to me and sometimes he's just scum. One day at school, I asked him for mint gum and he said that it was the last one and went somewhere. I answered ok, I understand, not hoping for anything. Sarah's classmates who were sitting behind us were also in shock. I know the story is complicated, but damn, I really like him, but I'm afraid to tell him about it. If you have any advice before that I would really appreciate it, because I really don't know what to do in this situation. If I tell about my feelings, he can tell other classmates and friends.But on the other hand, if it's mutual, then we'll start dating and that's cool. This discussion has been in my head for half a year and I don't know what to do next. Girlfriends say that he is just a red flag and relations with him will not be very good if there are any. Reader, I hope you can give me some advice about this)) thank you for reading 🤗💋
submitted by kimin_qwk to u/kimin_qwk [link] [comments]


2024.06.09 23:02 ImAMouseInAHouse M grad student - Looking for friends to do stuff with!

I find that when chatting with online people, it's easier to get bored and lose touch. I think we can build a stronger connection if we make time to have more meaningful interactions. So maybe there's some activity we can bond over. I have some ideas. Some of them are probably stupid. But I want to hear your ideas too! Let's find something we'll both enjoy:
submitted by ImAMouseInAHouse to MakeNewFriendsHere [link] [comments]


2024.06.09 23:01 sisterwilderness Difficulty recovering from confusing/bad therapy (long read)

A long read, may have posted bits of this already months back but still struggling. I really appreciate anyone who has the time to read and comment.
Last year I was seeing a “trauma informed integrative creative arts therapist” at $225 a week out of pocket. I was only able to swing it because my insurance offers 80% reimbursement for out of network benefits, and I was in dire straights and needed specialized help. I chose her because her Psychology Today profile, website and public social media made her seem more sophisticated and knowledgeable than the vast majority of therapists in my area by a long shot. I was already using art as a means of therapeutic self expression so I was excited to try her integrative art therapy approach. Through her professional (?) social media I was able to see that we both liked the same kinds of plants, music, similar political leanings, interest in ecology and environmentalism, and fashion. She’s very beautiful, well read, well spoken and charismatic. Prior to seeing her I had a string of therapists that were utterly useless and couldn’t help me, and I felt like I’d finally found the one. She said some things during our first session that stood out to me. “I’m not here to pass judgement.” Good! But then, “Well, I mean, everyone passes judgment, we’re all human.” I wasn’t sure what to make of that but I just overlooked it. Then she said, unprompted “people just come up to me and tell me about their lives” with a very self congratulatory tone. My immediate thought was that this woman must have some kind of magic touch. Surely she’d help me.
And she did! Somehow during that time I felt significantly better, which baffles me because she also hurt me badly. I spent the next 18 months on a rollercoaster ride with her. She contradicted herself often. She self disclosed needlessly, and seemed to be imposing her worldview. We misunderstood each other to a degree I’ve never experienced with anyone else in my entire life, but I figured I must just be stupid or crazy. She made unprompted statements like “I’m reeeeally good at what I do”, “I’ve had many clients who are extremely wealthy”, and when she heard what my salary is she audibly gasped and said “I pay my babysitters more than that! Oh my god!”. She was exceptionally ignorant on matters of economic class, though she would say otherwise. It was very clear to me through her unprompted self disclosures that she is wealthy, traveled the world several times over since childhood, and only had a very superficial awareness of how the other half lives. All of her statements regarding money made me feel smaller than an ant. I told her that I hope to own a home one day because my partner has the privilege of getting an inheritance someday. When I said a number she flat out said “that’s not feasible.” It actually is, she just couldn’t imagine it. When I spoke of my desire to be a mom all she did was talk about how expensive kids are because they need camp and a good pre school etc. I described to her that I grew up lower class and lack of camp is not what fucked me up (lol) and that lots of kids are still happy and healthy even without rich parents. She got really weird after that, like she didn’t know how to respond. She also said “we started ours at 2 because we value early education” as though people who can’t afford to send their kids to fancy private preschools don’t value early education just as much. It’s just inaccessible to them. I forget the context but she once said about me and my husband “I know you guys are like socialists or whatever, but…” while rolling her eyes, but I’d never once mentioned my political affiliation. During one session, she went on this weird monologue about how “scientists are proving that reality isn’t real” and “reality is different for everyone” when I tried talking about the gaslighting I experienced as a child. It was so bizarre. I asked her if she thought I had BPD and she said no because if I did I’d be using a lot more black and red colors in my art….!!??!??! She had me read The Untethered Soul, which was okay but to truly implement its teachings one would have to have basic financial stability. She acknowledged this but used the example of “a mom with five kids in the Bronx” as the kind of person who wouldn’t get much out of the books contents. I felt like saying “or young people who live right here in our town like me and most of my friends, actually.” I am sure I was her poorest client, just lucky enough to have a government job that provided insurance with OON benefits. Still, the reimbursements came in very slow, and I regularly gave her my very last dime until the next pay day. I relied on her to email me receipts to submit to my insurance company which I needed to remind her to do literally every time.
Now here’s where it gets real bad. I was having issues with my husband so she had us sign waivers so she could talk to his therapist. She told me she wouldn’t be able to tell me the contents of their discussions, which makes perfect sense. Except she did. A lot. And it turned out she exaggerated and possibly outright lied. The advice she gave me always lead to further conflict with my husband. I was confused because what she said his therapist said didn’t match up with what HE said his therapist was saying to him. It got to a point where I was put in a position to have to lie to my husband: either I tell him what his therapist allegedly said about him to my therapist, destroying his trust in him, or I lie. I wasn’t willing to do either of those things.
I decided I’d had enough, so I wrote her an email that was very direct but not unkind in any way. I needed to make her aware that the dynamic she created with my husband and his therapist was harmful, that her remarks about money alienated me, and that I had reminded her a total of three times to send me a receipt for reimbursement and that I should not be responsible for having to remind her again. We had our session the following day, and it left me in tears and feeling crazy. She denied that she broke confidentiality (I have it in a text message so nice try), said “who are you to school me on economics” with a really mean tone, and basically berated me for an hour while I sat there crying. It was INSANE. I never went back. I never reported her.
Since then I haven’t been able to shake it despite working with a wonderful new therapist. I am stuck on how strangely charismatic she was, that I never regretted giving her my last dime even though she made me feel bad, and somehow she also made me feel sort of high? I thought she was so cool, and she seemed to think I was cool. I am sure there was countetransference to a degree. In hindsight there were a lot more red flags. She would talk about “clean eating” and remark that American food is poisoned and gluten is bad etc. all unprompted and out of her scope of practice. She used a lot of new age lingo despite me telling her that didn’t resonate. Made a lot of comments about her own opinions and worldview on various topics. Her social media is very much all her, photos and videos of her, it just seems like she wants to be somebody’s guru. Her history doesn’t line up either - she claims she has 21 years experience as a therapist but told me she’d left the field for a while and worked in fashion for a time, but she’s not old enough for that to add up unless she literally only took a few months hiatus which I guess is possible.
The weird thing is, I spent months thinking she was the best person. I did feel better in terms of my self confidence when it came to expressing myself… but in hindsight it wasn’t her, it was me. I did all that work. Maybe it was the art. But why did I give her so much of what little money I had for so long? Why did I stay on that roller coaster? Put up with her contradictions and unethical behavior? I literally feel like I left a tiny cult.
The contrast between her and my current therapist is wildly stark. My current therapist is refreshingly boring and I know next to nothing about her. She has no public social media presence. She never makes me feel judged or bad about myself, ever. Shes also out of network but SHE submits the receipts to my insurance company FOR ME and waits for them to pay her the full amount…. And I just give her my copay. I didn’t even know an out of network provider could do that. Now therapy is truly accessible to me.
I still don’t know what to make of what happened. Unfortunately I have to see my ex-therapist as she is a frequent patron where I work, and I found out she has a new office literally a block from my home. It’s in a little cottage on the grounds of the Unitarian church I used to belong to and was thinking of going back… welp, not anymore. Ugh.
She fucked with my mind and I am still messed up from it. Her public persona is somehow troubling to me, like it’s fake and she’s trying to reel people in. Something about her “coolness” and palpable overconfidence is very off-putting. Cult leader-like. I’m embarrassed to keep bringing it up to my current therapist because I have so many other BIG issues to work on, and I feel like I should have let this go.
submitted by sisterwilderness to CPTSD [link] [comments]


2024.06.09 22:59 No_usernames_availab Thoughts on songs in Finnish?

As a native Finnish speaker, Kuolema Tekee Taiteilijan, Erämaan Viimeinen (Last of the Wilds with lyrics) and Taikatalvi have a special place in my heart. Not just because they are in Finnish, but because the lyrics are pure magic compared to both English lyrics by Nightwish and Finnish lyrics by anyone else (not to disrespect Nightwish’s English lyrics, there are many gems too).
People who don’t speak Finnish, how do you approach these songs? I’ve seen many people not appreciating them very much, and I kind of understand them. Of course it’s harder to get into a song when you don’t understand a word, or even if you have a translation. If you dislike (one of) them, are the lyrics the problem? If you like (one of) them, what makes it/them good?
Of course we also have Lappi and the intro of My Walden in Welsh, as well as the bridge/C-part of The Crow, the Owl and the Dove in Welsh and the outro of Shoemaker in Latin, but those two are just a couple of words repeated. Tarja’s Mystique Voyage (English, Spanish, Finnish) is also cool. Let’s leave the mess known as Creek Mary’s Blood out this time.
submitted by No_usernames_availab to nightwish [link] [comments]


2024.06.09 22:59 SilverButton1975 TI13 Hopes and Dreams

What’s everyone looking forward to most about the upcoming TI? For me:
The theme + the AR / graphics: last year’s church theme was super cool. Excited to see what they go for this year and how they step it up.
EU DOTA: While I personally loved having TI back in Seattle, it felt like fan engagement wasn’t as big as the previous couple of years because of the NA time zone. Excited to see more Europe, Russia, China action.
Music: The last couple of years have had amazing music. Last years with all the dota sounds used in the music was really well done. It was great to have the classic dota orchestra music too in the opening. Excited to see what new music they make this year and how it fits in with the new theme. Hoping also that they finally release some of the new music in the TI battle pass.
Playoffs + Finals: I felt like the way last year worked with the playoffs being its own thing was really great. Made the finals seem even more impressive. I hope they keep that format.
Recap videos: last years were the best. Nice to see people at valve who obviously know the game so well putting in the time on making these. Since the time zone will be EU this year I think having these recaps will be even more important for us in the USA who can’t watch all the games overnight.
Hoping for: A return to the great skits and TI videos from past years. Covid seemed to reduce these a lot and I’m hoping they can bring them back now. Some of my favourites from past years were the Slacks tourism videos from Japan and China, Dendi touring Vancouver, the team skits when each team did one. I feel like we got to know all the personalities of the teams better and I looked forward to those videos almost as much as the games.
True Sight!! Has always been my favourite part of TI and I was sad when they had to stop because of Covid. Now that things are back to normal I’m hoping they can do True Sight again. Seeing the personalities and strategy of the players is what makes DOTA still relevant even though it’s an old game now. And the animations are so dope.
It’s a big list I know but TI is what brings me back to the game every year. I love the spectacle!
What are your hopes and dreams for this year?
submitted by SilverButton1975 to DotA2 [link] [comments]


2024.06.09 22:57 toksi2009 PsychoKinds: A letter from the ice town

PsychoKinds: A letter from the ice town
https://preview.redd.it/5u9huq6v0m5d1.png?width=6042&format=png&auto=webp&s=8d792ebe86fcc626402d73a7c40f3769d38e42c9
Sir! Our expedition has begun to bear fruit! Now we are in the depths of the Ice Kingdom. No signs of settlement or life were found until this morning. Someone left an envelope consisting of a previously unknown type of paper with a seal made of a transparent material whose temperature is prohibitively low. Inside it was a letter, its author is unknown, the handwriting does not match anyone from the camp. Also, the ink was clearly of magical origin; somehow the text glows bright blue in the dark. Some of our expedition suggested that the author of the letter was the "Ice King". I quote the text from the letter for further instructions:
“So, you came this far just to see me and my creation? Don’t make me laugh. I’m afraid you will never find the ice town, my spells hide it well from barbarians like you.
Well, if this doesn’t stop you, then so be it, I will share information about myself and my kingdom. I am known in your area as the Ice King - the Lord of cold and blizzards. I must say that you are nothing more than children to me. I appeared long before your species entered my lands, approximately 250 years ago. When I appeared there was danger at every step. The banal probability of dying in a dream was extremely high. I wanted to stop this. My magic and influence were enough to take control of several colonies on a continent that is now dead to you. Ultimately, I managed to create a spell that can protect against anything... However, it didn't work as I planned. The continent on which several thousand already extinct creatures lived died, I destroyed it. I destroyed Okkervil. After this spell, I ceased to be human. Now this continent has become my prison and field for experiments. During all the years of solitude, I was able to achieve incredible heights. Thanks to me, my best creation, Ice Town, saw the light of day. Its area reaches approximately several kilometers. It has everything you need for a comfortable life. I won't let you get to him. Only those who deserve it get into my city.
I'll give you a hint on how to find it:
My city is where I am, I live where the city is. I am its only resident.
Find me. I'm where it all began and ended.
Euchre"
Sir. Most likely, the ice town is located in the center of “Okkerville” (Tell the cartographers to rename this continent).
We are awaiting your instructions.
submitted by toksi2009 to Twokinds [link] [comments]


2024.06.09 22:56 chica_2626 Ohio - Roots in neighbor's yard

Hi, been searching and scrolling this subreddit after receiving a mildly threatening letter from my next door neighbor. She claims two trees I have in my backyard are invading her backyard with roots. She included photos of extensive above-ground coverage of a root system that seems to have gone unchecked for a very long time. I have never interacted with this neighbor as they seem to keep to themselves and have a large privacy fence around their backyard so I have not personally seen this myself.
I don't know a ton about trees but it seems a bit strange to me that the roots of my tree would have only spread to her yard, which is up a slope from my home, to break through the surface and cover her yard, and I have absolutely nothing of the sort within my yard where the trees are, or the neighbor behind me. I guess it's possible they only grew that direction but how could she definitively say they're from my tree? This neighborhood has lots of old trees and is very green overall for a suburban neighborhood, though she has none directly growing in her yard. My trees in question I imagine have to be pretty old as they're probably 60-70 feet tall or more. I've only lived here 3 years so those trees existed long before I moved into this home.
She claims the roots are close to her foundation and new driveway and alleges they're impacting the plumbing (but doesn't specify any details). From the way she phrased the letter it implies she intends to seek legal action against me if there is damage from this. From the looks of the photos she has left whatever is growing there, whether from my trees or not, unchecked for a very long time and my feeling is they want to try and make me pay for it so they don't have to handle their property issue themselves. This is my first home though so I'm very nervous if I could be held responsible for this?
submitted by chica_2626 to treelaw [link] [comments]


2024.06.09 22:56 blackgold12 Question About Status Matching to Alaska or American

Hi All,
I'm a United Gold who has a status match with both AA and AS at the moment for platinum/MVP Gold. I'm close to securing the calendar year one World sapphire with either AA/AS, but I'm running towards the end of the challenge on both. Given my work travel schedule this month, it's highly unlikely I'll be able to complete the challenge for both programs, but will certainly complete it for at least one. The question is which one should I choose. I was based in EWR and am now moving to either Texas or the west coast for work. My questions are:
  1. I'm guessing if I relocate to Texas, I should just stick with AA (I won't be allowed to relocate to Houston - only Dallas/Austin since those are where my firm's offices are. Similarly, if I end up relocating west, I should choose Alaska as my program of choice?
  2. Excluding living factors, my goal for work travel is to make my personal travel cheaper or more comfortable. Which program is better for redemptions on international flights (ideally business class, but am willing to settle for good availability of deals for main cabin as well) or getting upgraded on domestic flights at the mid-tier status levels?
  3. Some other points in favor of AA is that I try to stay at Hyatts, and I understand they have a partnership with Hyatt while AS doesn't. This isn't a dealbreaker, but it would be cool to get more points on hyatt and vice-versa potentially.
  4. Additionally, as you can tell, I fly often, but not all the time for work. I'm a bit hesitant about AS's purely distance-based status program since I might not hit MVP Gold again if I only travel 1x a month or so. AA seems a bit better since I can earn status through the shopping portal, CC spend, etc. and not always have to rely on work flights to get me there.
Any advice on which to pick or what your experiences were with each program by chance?
submitted by blackgold12 to AlaskaAirlines [link] [comments]


2024.06.09 22:56 net_x_ I have a platonic crush and I have to talk about it.

(Currently learning English, please don´t mind the mistakes)
Over the last yeas I have been kind of adopted into a new friendgroup. Everybody there is so so amazing and I love them all so much.
That being said, I there are some people I´ve spend more time with and some I haven´t yet. One of them is this one guy...a few weeks some of us went on a camping trip on which me and him shared a tent and ever since I have been kind of crushing on him. But yk I´m on both the acespec and the arospec so it´s not a crush-crush. For the lack of a better word I will call it a platonic crush because I want to spend time with him and him to like me and talk to him and cuddle him but if he asked me on a date (not gonna happen but I did think about it for three hours the other day) I would go and see if maybe some romantic attraction could happen.
Otherwise I think this is pretty similar to a crush and personally I hate it. It is so annoying I am constantly thinking about him and I can´t go three sentences without mentioning him and I have the crush-feeling inside me and it I feel it, constantly. The worst thing though, is that I can´t really talk to anyone about it. (Ecxept one friend, I had a two hour crisis call bout this with them)
Whenever I had a male friend people always shipped us. Whenever I expressed someone was cool or pretty or I liked them it was always like "Oh-oh, whats this? You LIKE them? Soooo like...romantically?" and then they just don´t take you seriously when you tell them it´s not like that. If I told them I had a platonic crush, they would never get over it and I feel like nobody would belive the "platonic" part about it. For me, having that assumption made about me makes me deeply uncomfortable and also brings me back to a place of questioning and invalidating my own feelings and thoughts.
My new friend group would prbly understand but like that is how I know the dude and most of them know him better than me and like it would just be awkward plus I don´t want this to get to him somehow.
But he is just so cool like it´s unreal. He has really pretty fluffy hair and a helix piercing and he has one of those jackets with patches from different rock and metal bands. He also used to play in a band wich is so cool. He is generally really good with music to the point where he picked up a melody I was humming to myself at the other side of our little camp. Also he is just such a sweet sweet person. He left me a note on my pillow bc he went up to the tent earlier than I did just in case he was already asleep and he just did not switch off the light even if I went to bed like an hour later than him (I told him like three million times it was totally fine, I did not necessarily need it)
His laugh, his happiness is infectious and so so lovely to watch. He is so seemingly effortlessly funny. Also he has a pet snake wich makes him EVEN cooler because snakes are just the coolest animals.
And now here I am with this thing happening and like we haven´t even talked that much together like what is this. But everytime we do and everytime we have a little moment together it makes me so happy and I am just overall giddy and happy and this feeling in me is bubbly and warm and kind of fun. (Sometimes, sometimes it makes me feel inferior and stupid and bad but thats more of a me thing I think)
Anyway, it´s nice to talk about it...I hope I will have the chance to hang out with him some more before I leave for my year abroad (this is such bad timing for a crush I tell you what) and maybe establish that we text a lot. I´m a bit of an introvet, though, so any ideas on how to smoothly start texting sb often or get to hang out is greatly appreachiated.
submitted by net_x_ to aromanticasexual [link] [comments]


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 22:47 Robotzi6 my spanish teacher called me zesty 😭😭😭

So I'm in the musical theatre club at my school, and recently we got a whole day off classes just to rehearse, which was pretty cool. During our break, I saw my Spanish teacher, so I decided to tell him 'Hey, I've got some musical theatre stuff to do, so I won't show up to class' and he was basically like 'yeah I gotchu'. Well, I heard from my friend, that when he was taking attendance, he said 'robotzi's out doing his zesty things'?!?!?! AND ALL MY OTHER FRIENDS SAID IT TOO!? I KNOW IT'S MUSICAL THEATRE BUT GOSH-
But it doesn't end there! My guy does NOT know what zesty means, to clarify. In the lesson prior, we were matching up some Spanish words for clothing (e.g: una falda, match that with a skirt) and he was doing some little charades to go along with them. And everyone was calling him zesty (those example were pretty lit, idk why there were doing bro like that). We learnt some more words and then did some more matching, but he said 'he wasn't going to do his zesty charades this time'. I'm convinced he thinks it means 'dramatic' or something, or he knows full well what he's doing and his just trying to make lessons fun.
TL;DR: teacher called me zesty while I was doing something with an after-school club
submitted by Robotzi6 to teenagers [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 22:46 ASongOf-Ice-Fire-and TWOW Prologue Theory and Fan-Fic, 2 of 3

TITLE CORRECTION: TWOW Prologue Theory and Fan-Fic, 2 of 4

It is one full chapter, but because it is so long, I broke into four parts.
This is a theory for the actual Prologue of The Winds of Winter. Please enjoy. This is Part 2 of 4.
The Winds of Winter
Prologue
[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. F\ck 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 b*tch 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 f*ck 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, f*ck 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 wh*re! 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 TheCitadel [link] [comments]


2024.06.09 22:46 ALightintheCrack Involuntary commitment - the horrifying legal procedure that makes it easy to send kids away

This is a post to raise consciousness around this aspect of the TTI because it doesn't seem to get much discussion, and the legal industry, especially the judges and magistrates, really need to hear from people about how they are failing to live up to decent ideals of justice.
Involuntary Commitment, "IVC," is common in every state except maybe Connecticut, and advocates are pushing for more of this kind of option. More info on that advocacy here (multiple trigger warnings) https://www.madinamerica.com/2021/06/letter-advocate-involuntary-treatment/.
IVC removes pretty much all the rights of the patient and their parents. And pretty much all it takes is a few magic words on a piece of paper by a provider, notarized, and presented to a magistrate, few of whom even read it. They just sign and done.
I just went through this with my own child. I was told by someone I used to trust that a particular hospital in my area would be judicious in how they treated them, and would not send them to poor facilities. In fact, they IVC'd my daughter, forcing her through transport by sheriff, strip searches, having her personal belongings referred to as "contraband," well, this is /troubledteens, everyone here knows how awful this process is. I was livid when I discovered they had ivc'd my child.
The irony is I used to work in this field as a lawyer, defending folks from IVC. At that time, hospitals were a little slower to invoke it. But even so, I didn't really understand what was happening, and also, most of the facilities where my clients were short-term, community based, staffed by decent people.
But even then, winning an IVC case is next to impossible. The legal requirements are practically zero, as in, a simple statement "the respondent poses a potential threat to themselves or others" is pretty much all that is needed. And bam, you now have a permanent record as dangerous person. They don't have to provide notice to you or your parents. They don't have to allow a second opinion by a doctor of your choosing. You now have no rights, your parents (assuming they were not the ones petitioning) have no rights to your care.
A large part of the problem here is magistrates, folks who are not always even lawyers, are told just to sign these things without question. There is no-one at that juncture to advocate for the sick person, they are completely at the mercy of this sick system, and usually have no idea what is happening.
Other awful things about this: the respondent does not get to look at their own file, neither do parents. Somehow this is not considered a due process violation.
There's no oversight. Maybe in some states, but most don't think twice about it. Nobody does any followup to determine whether the IVC actually did any good.
Judges don't care. They are more concerned about being the judge who denied an IVC who later killed a bunch of people than they are with the collective harm of thousands (tens of thousands? hundreds? who knows?) kids who don't deserve to be treated like criminals.
It keeps getting easier. In NC recent overhaul of the law means pretty much anyone who takes an easy training is qualified to examine for the purposes of an "emergency."
Even in those cases where maybe possibly it makes sense to ivc someone, there is now an adversarial relationship between the patient (and, we hope, their family) and their care providers.
Call to Action: Any solution to the overall TTI program really needs to include addressing this injustice. In the upcoming senate hearing, if you have been involved in an IVC be sure to include how little it helped and how much harm it did. Ask Judges why they never deny IVCs, and how they challenge whether examiners (rarely are they doctors or even specialized PAs) are actually telling the truth, or are competent. Ask magistrates why they are not doing their jobs with some diligence.
Ask care providers how much harm it causes to create a legal adversarial relationship with a patient. Most will deny that an ivc does that, they are dead wrong, and you can direct them to ask a lawyer if they won't take your word for it. And then ask the question again. What patient will trust a provider who orders them to be treated like a criminal? What person would do that?
And we really need to push back on what qualifies for an ivc. There needs to be substantial evidence of an imminent threat of serious physical injury or more. And even when there is an ivc, the reduction in rights should be highly limited and tailored only to the very immediate need, and never completely curtailed. There should be a requirement to seek informed consent nevertheless, and a right to redress for over-treatment.
I am angry as fuck about this. As a lawyer, I'm ashamed of the dereliction of my profession. As a citizen, I'm appalled at our failure as a society to address this issue. As a human, I'm mortified and how horribly we are treating people in emotional distress. Matthew 25:40 et seq.
It's too late for us, but maybe with diligence and effort, our children and grandchildren will not have to suffer as we have.
submitted by ALightintheCrack to troubledteens [link] [comments]


2024.06.09 22:44 Bene-dict [Art][OC] My Triton Storm Herald Barbarian, Nami!

Nami (Illustration by u/Bene-dict)

Nami

Gender: Woman
Race: Triton
Class: Barbarian
Subclass: Storm Herald
Alignment: Chaotic Neutral
Height: 5’0”
Weight: 136 lbs
Birthday: May 8th
Age: 31
Favorite Food: Fish Head Stew
Favorite Color: Seafoam Green
Theme Songs: Mikky Ekko - Who Are You, Really?, Phantogram - Black Out Days

Backstory - Clearwater

The following spoiler warnings are for my campaigns group, except for Monet's player.
After leaving her old home in the ocean at 21, my character came to the surface and took on odd jobs like deep sea fishing and loading transport ships in Clearwater, a port city in my DM's homebrew world. During one of these jobs, a fisherman refused to pay her fairly, calling her "half fish." Being a barbarian and all, she wasn't going to take this lightly so in retaliation, she destroyed his ship and stole the anchor, which she now wields as her main weapon. This act caught the attention of the Iron Syndicate, who sought her out for her potential as a useful grunt.
Believing she was being recruited as an underground fighter, Nami signed a seven year contract with the Iron Syndicate, unaware they intended to use her as a discreet executioner to eliminate targets in their underground fighting ring to make deaths look accidental. Nami, as she was known outside the ring, adopted the fighting name "The Tsunami" and she became a niche underground fighter celebrity, popular with the dock workers at the wharf.
The Iron Syndicate provided her with an apartment by the wharf, where she spent her time learning how to fish and cook her catches. She starts by chopping off the fishes' heads, which she saves until she has enough to make her favorite dish, fish head stew. Next, she boils the fish to remove the skin, which she sets aside to later fry into crispy fish skin chips. She uses the fish meat to prepare a variety of dishes, including fish tacos, fish and chips, fisherman's breakfast, and sourdough bread bowl with seafood chowder. Nami spends much of her free time around the wharfs, forming strong friendships with the local fishermen. She also frequents a nearby tavern, where she often drinks and intervenes to stop fights that break out. Nami is fiercely upset by a scathing review of the tavern published in the newspaper, unaware that it was written by Monet, another member of their group.
As her reputation as a fighter grew, the Iron Syndicate decided it was time to use her for their true purpose, thinking that her established status would make any accidents look more believable. They tasked her with killing her next opponent in the ring, convincing her it was the lesser evil. In reality, the target was likely just a business rival. Trusting the organization, Nami went through with the kill but immediately regretted it afterward. Rumors started spreading about "The Tsunami's" strength and her lethal prowess in the ring, further adding to her reputation.
Some time after this event, Detective Monet, our Shadar-kai Divination Wizard from The Cursed Lands, began investigating the Iron Syndicate. However, her efforts were cut short when she was caught by the organization. Interrogated and providing little to no useful information, they deemed her expendable, as she was not officially affiliated with any faction but rather a freelancer. Consequently, the Iron Syndicate threw her into the ring as Nami’s next opponent, intending for her to meet her demise 'accidentally.'
However, burdened by guilt from the previous innocent death she caused, Nami sought out Monet before the match, grappling with her conscience. Sensing Nami's reluctance to commit murder, Monet devised a plan: Nami would stage a fatal blow to Monet, faking her death, allowing them to escape together afterward. Since then, Nami has been evading Iron Syndicate, knowing they would not take kindly to their celebrity fighter not completing her contract and helping an investigator escape with information on the Iron Syndicates criminal activities. By the start of the campaign, four months have passed since Nami fled from the Iron Syndicate, still owing five more years on her contract. During this time, she collaborated with Detective Monet on various cases.
The next spoiler warning is for my entire campaign group. I'M TALKING TO YOU MONET'S PLAYER. lol

Before Clearwater:

Nami, once known as Luculia Stormtide, grew up in a tight-knit triton community beneath the ocean's surface, locked in a conflict against malevolent elementals threatening to overrun the material plane. Her parents were humble kelp farmers, so Luculia had to work ecceptionally hard to become a paladin at the temple. After achieving her dream to be a paladin, she was on the cusp of a prestigious promotion, deeply committed to safeguarding her people. Alongside her dedication to duty, she nurtured a loving relationship with her longtime girlfriend, Nimue, a druid, and cherished the impending prospect of marriage with her.
However, tragedy struck when a deadly illness ravaged her community, leaving her no choice but to venture to the surface in search of aid. Despite saving her people by bringing a healer back, her actions breached a strict law prohibiting external contact, leading to her exile and the stripping of her identity and name, Luculia Stormtide. At the age of 21, she lost everything dear to her: her family, her beloved partner, her community, her status as a paladin, and even her ability to wield divine magic.
The betrayal she experienced has left Nami deeply scarred, fostering major trust issues. Reluctant to offer her help without assurances, she often insists on upfront payment before committing to any task, a measure to shield herself from further betrayal. She now expects everyone to cheat her, especially those who get close to her, such as Monet, since they can hurt her the most. Nami sometimes fantasizes about returning home to destroy various buildings, including the temple, but she refrains, as part of her still holds onto hope. Although Nami is now very cynical, she continues to live by the wharf near the ocean, hoping someone will return and welcome her back to her old home.
At the start of the campaign, it will mark a decade since Nami last laid eyes on her old home in the ocean, having embraced Clearwater as her new residence. Nimue, Nami's FiancĂŠ, would hardly recognize the person Nami has become today. During the time she was known as Luculia, she epitomized femininity, kindness, loyalty, and quietude. However, exile and exploitation have left her jaded, indifferent to social decorum, distrusting, and prone to vulgarity.
About using my art: I am totally cool with you using this image for your own triton or fish person in your own private campaign! However, please do not claim the character design and art to be yours or use it for monetary gain. Thank you!
submitted by Bene-dict to DnD [link] [comments]


2024.06.09 22:37 justaddsleep Let's Talk About Thorns

Introduction

Hello fellow dead raisers, today I want to talk about something I am passionate about. Which if you can't tell by the title is the thorns Necromancer. I am not entirely sure what makes me gravitate to the niche, weird, and mundane builds in video games. But here I am so let's' get started.

What is Thorns Necromancer

Thorns Necromancer is the use of Thorns to deal damage and clear content in Diablo 4. It is a quite powerful build but because of its quirky playstyle requires some patience and fortitude to really see shine. What I mean by this is that the build can demolish a lot of the game with ease but as you climb higher requires bosses to auto attack which is hit or miss "ba dum tish". Unlike the Barbarian we split our stat investment across quite a few things to scale our damage up. So at times it can feel a little less than linear.

Gearing Golem

Damage
Defense
Paragon

Gearing Defender

Damage
Defense
Paragon

Fishing

Interactions

Builds

Solo Golem: https://maxroll.gg/d4/plannexf9bh0wj#2
Defender: https://maxroll.gg/d4/planneqy8np023#1
Hybrid: https://maxroll.gg/d4/plannekp92g02r
Golem Thorns Spreadsheet: https://i.imgur.com/lHoixdY.png

Suggestions

Conclusion

Thorns Necromancer is quite strong and while I stopped pushing with it at around 105. Others like Ranny who is much better at the build have gotten into the 110's I think possibly 120's? If you had a fully optimized thorns golem build I could see it maybe going even higher if you could fish the right bosses and survive. Because the Bone Golem can hit thorns values into the 290,000 range the damage can scale to absurd levels on the right bosses. I am really hopeful that we will see a more refined and bug fixed version of this build in season 5.
I would also like to state that I am not all knowing. If you find something that contradicts what I have found please let me know. Also, Ranny is a much better thorns player than I am. I take his word as gospel when it involves thorns. I want to give a shoutout to Seetod once again for being the Minion G.O.A.T. I couldn't of tested a lot of these things or found as many bugs without his help.
submitted by justaddsleep to D4Necromancer [link] [comments]


2024.06.09 22:36 Man_of_Many_Names The Bloodied Rose (Atalanta fic)

Hello all! This was a short fic I meant to write much sooner, while the lore and bits and bobs of every Primarch and their SO was still being sorted. So that’s why Rose here doesn’t have any descriptors as to what they look like.
As for why it’s only coming out now and not sooner, I lost the file and had to dig quite a bit to retrieve it. Guess I’ll be making back ups more often. That aside, enjoy.
——————
The Nails tore at Atalanta’s mind more than usual that night. Pounding, pulsing, throbbing aches of agony lancing through her skull, reducing her vision to a blurry mess at the best of times, or driving her nearly blind at the worst.
Her Primarch physiology was waging a war that it couldn’t hope to win. Too much had been taken, too much reduced to a wet slurry in her skull to properly mend. Too much of her mind left gnarled and furrowed with scars, just like her.
Another bolt of pain forced her upright with an agonized snarl, veins bulging with strain around her neck and head as her teeth ground against one another. One hand palmed her forehead, fingers curled into a claw-like fixture, the other gripping the light sheets with enough force to tear. Tears gathered at the very edges of her eyes as even her almost impossibly high pain tolerance met its limits.
She didn’t even notice the small figure next to her stirring, not till she felt the cool hands of her Rose gently grasping her clenched fist. That cool touch wrenched Atalanta’s eyes open, a warrior’s snarl building in her chest. Yet that anger cooled as her wrathful eyes took in the sight of her beautiful Rose.
Peace washed over her in those silent moments. The aching of the Nails dulled and Atalanta took a short breath she had denied herself unknowingly. There was no explanation as to how Rose did it for her, not that she ever needed one. That look, that one gaze into Rose’s eyes became her center, and allowed Atalanta to refocus herself.
The Primarch’s shoulders relaxed as tension ebbed away from her. Not all of it, but enough for her to remember peace. The Nails ached, but it was the deep respect, that deep love for Rose that washed over her thoughts now. The Nails could be smothered, and that’s what mattered most.
Atalanta allowed herself a more relaxed sigh as she fell back into the embrace of the bed, her skin chilled by the sheen of sweat the Nails bestowed upon her. One mammoth arm scooped Rose closer to her, skin prickling from the much colder being she now cradled against herself. With Rose, a blissful numbness overcame the warrior as she was lulled off to her meager dreams.
Those dreams were of her favorite things. The cool breezes, the chill of fresh water, the smell of her Rose, their skin against hers. Her bouts against Rose, and the pride she felt at each improvement they made.
Dreams of everything that could be.
“My Master demands service of you. Rise, His Red Angel.”
Her mind snapped to attention. Bolter rounds screamed overhead, the air lay thick with smoke and the smell of death. Gore clung to her hands, her weapons. Her armor lay splattered with it, a field of corpses surround her feet.
How did…?
The Nail’s ripped at her brain, forcing a bestial snarl to escape her as her vision went black. Yet they brought clarity as adrenaline surged through her system.
Yes, she remembered now. She and her legion, her beasts of war, her World Eaters were laying waste to a world. Around them lay other bodies, both Astarte and mortal. Some were clad in the gore drenched regalia of her warriors. Some, the polish gray and dull crimson of the Word Bearers.
Yes, she and Aurelia had been sent to this world, to rain death and doom upon its people. Her vision cleared from the last of the Nail’s induced blindness, treating her to the full scope of the massacre they wrought. But beneath all the death lay the bodies of their enemies.
The broken blue of the Ultramarines, sons of Juno.
Calth, she recalled. That was the name of the planet they were at.
Her hands gripped her weapons tighter as she prepared to move. Yet she could not. Her legs refused to move, despite her efforts. A grunt of frustration growled out of her as she tried, yet she had become rooted to this spot.
She then felt a wetness rolling down her cheeks. It was not the hot, putrid wetness of gore that she expected. It was cold, cold enough that she felt the bitter paths they trail across her cheeks before falling. Her vision was blurring again, yet it was not the Nails this time that did so.
Tears. These were tears! But why? Carnage had never driven her to tears before, nor should it now. Her gaze lowered, and her heart seized with iced dread.
Amongst the bodies and metal, there was only one corpse that retained any distinguishability. Laid out, almost deliberately so, with open arms and limply holding a battered and blackened flower… was her Rose.
Dread ate her heart, panic seizing her lungs as horror took root. She sank to her knees, her weapons thrown to the side as a hand gingerly reached towards her Rose’s fallen body. Her bottom lip quivered, tears running freely down her cheeks in small falls.
She knew what had happened. There was no denying the wounds that crossed Rose’s chest. Those deep furrows could have only been carved by her weapons.
Horrified she looked down at her hands, a silent scream escaping her as she saw her drenched hands.
How!? How could this have happened!? Why was Rose here!?
The world around Atalanta went numb. She could feel the Nail’s eating at her brain, yet it was not pain she felt as they did. This was something stronger. Something colder. Something more primeval.
Loss.
She was dimly aware of a voice calling to her. Dimly aware of a large figure, eyes glowing with power as a spiked maul smashed aside foes. Aurelia.
Atalanta heard nothing of what she said. The only thing she could hear was the ear bleeding howl of agony she bellowed out. Her heart squeezed as loss took her.
The air crackled with power. It was filled with whispers of Those That Should Not Be. Atalanta vaguely processed that Aurelia was chanting something. Yet her agonized screams drowned everything out, as she was swallowed whole by a storm of ruin.
Another being had watched the events unfold, and they smiled as things came together. The Red Angel had been claimed, just as his Masters had intended. The script carved into his skin twisted and warped with his smile.
The dim halls Erebus walked was filled with his laughter.
submitted by Man_of_Many_Names to PrimarchGFs [link] [comments]


2024.06.09 22:32 CavalryWolfPack Is a Long Count Calendar tattoo disrespectful on a non-Maya?

Hello everyone. I'll try to keep this short, but I'm honestly a little nervous to put myself out there and make this post, so I ask that you please bear with me.
My relationship with Maya culture is both academic and a little involved with where I live. I'm an archaeologist and a linguist who wants to specialize in both the Classic Period and modern Maya. Most of my archaeology education surrounded the Maya, as did my field school excavations. I'm presently doing my literature review for research proposals for PhD programs in linguistics and archaeology. I'm really passionate about educating others about the Maya. I'm especially passionate about bringing attention to the local Comunidad (most people don't even know they're here, in our own local community), their public events and conferences, and their social media, where they post about their struggles and those of other Comunidads.
Lately, I've been thinking a lot about ideas for my first tattoo. I keep coming back to a date that's very important to me, but represented as a Long Count date. I think it's a cool representation of something both important to me and something I'm passionate about. However, I'm hesitant to do this because the calendar was considered sacred, or at the very least the tzolk'in glyphs were (or possibly still are: I admit I am not very knowledgeable about the modern Maya's relationship with it). In previous threads on the topic, most Maya said tattoos were fine and were cultural appreciation, not appropriation. However, I've never seen anyone ask about a Long Count tattoo, so I thought I would ask here. As an academic, the last thing I want to do is be disrespectful to the culture I want my research to serve. I also want to wear my appreciation on my sleeve, literally, and if it also represents something deeply important to me, all the better.
Is this a good option, or should I rethink this?
submitted by CavalryWolfPack to Mayan [link] [comments]


2024.06.09 22:28 SavingsAct4130 Can somebody tell me why every company says they carefully considered you with no communication, no interview, nothing?

Look. I know I'm in the work of starting my first day at work this week (WOOHOOOOO). But can somebody tell me why the actual fuck companies say they "carefully considered" you and don't even speak a word to you before handing you a rejection letter? Sounds like a damn cop-out to me. This is how the letter would go if they were honest:
Hi [candidates name],
We thank you for your interest in our company. But not really, we don't care. We understand we spoke absolutely no words to you about this position, but we'll pretend we looked at your resume for more than two fucking seconds, and through those two seconds, we carefully (not really) considered you. We also understand that you are overqualified for this position, but we're gonna give Ms. Bitch-attitude a job over here, instead of you, because her mother is a part of our admin board. We will make sure to throw your application straight to the shred-- we mean, in our files. Again, we wish you luck in your job search and hope you find a job before you starve, but we really don't because we already have a steady income and could give no fucks about anyone except ourselves.
Fake-ass regards,
[terrible company]
submitted by SavingsAct4130 to recruitinghell [link] [comments]


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