Claude Debussy, a prominent figure in Impressionist music, revolutionized harmony, melody, and cultural perceptions in music through his innovative compositions. Let's break down his impact statistically:

1. Harmony:
   
   • Debussy's harmonic language moved away from traditional functional harmony, embracing modal and pentatonic scales, whole-tone scales, and parallel chords.
   • Statistical analysis could show a decrease in the prevalence of traditional tonic-dominant relationships and an increase in the use of non-functional harmonic progressions.
   • Debussy's harmonic vocabulary expanded the tonal palette available to composers, influencing subsequent generations of musicians.
2. Melodies:
   
   • Debussy's melodies often featured fluid contours, incorporating elements of pentatonic and whole-tone scales.
   • Statistical analysis might reveal a departure from conventional melodic structures, with a focus on atmospheric, evocative lines rather than traditional, singable melodies.
   • His melodies often blurred the lines between melody and accompaniment, contributing to the overall impressionistic aesthetic of his music.
3. Culture:
   
   • Debussy's compositions challenged traditional notions of form, structure, and tonality, reflecting the changing cultural landscape of the late 19th and early 20th centuries.
   • His rejection of German Romanticism and embrace of French musical traditions helped to establish a distinct national identity in French music.
   • Through his use of exoticism and non-Western musical elements, Debussy contributed to the broader cultural fascination with the exotic and the mysterious during the fin de siècle period.

Statistical analysis of Debussy's compositions could provide insights into the frequency of specific harmonic progressions, melodic contours, and stylistic features. By examining patterns and trends within his music, researchers can better understand his unique contributions to the development of music harmony, melody, and cultural expression.

• Prelude to the Afternoon of a Faun (Prélude à l'après-midi d'un faune): This orchestral tone poem, inspired by Stéphane Mallarmé's poem, is a quintessential example of Debussy's impressionistic style. Its dreamy atmosphere, fluid melodies, and innovative harmonic language evoke the sensual world of the faun.
• La Mer: Debussy's symphonic sketches for orchestra, La Mer, depict the ever-changing moods of the sea. Through innovative orchestration and harmonic exploration, Debussy creates a vivid sonic portrait of the sea's power and beauty.
• Clair de Lune: This piano piece, part of the Suite Bergamasque, is one of Debussy's most famous works. Its gentle, shimmering harmonies and delicate melodies evoke the moonlit tranquility of a nighttime landscape.

1. Cultural Examples:
   • French National Identity: Debussy's rejection of German Romanticism and his embrace of French musical traditions helped to establish a distinct national identity in French music. His compositions, with their evocative depictions of French landscapes and folklore, contributed to a sense of cultural pride and nationalism.
   • Impressionist Movement: Debussy's music is often associated with the Impressionist movement in painting, which sought to capture the fleeting impressions of light and color. Like the Impressionist painters, Debussy focused on atmosphere, texture, and suggestion rather than precise detail, creating music that is more about mood and impression than literal representation.
   • Cultural Exchange and Exoticism: Debussy's fascination with non-Western music and exoticism is evident in works like Pagodes from Estampes and La soirée dans Grenade from Iberia. These pieces incorporate elements of Javanese gamelan music and Spanish flamenco, reflecting the broader cultural fascination with the exotic and the mysterious during the fin de siècle period.

This is all for a TTRPG that I'm running for some friends. If this isn't the right place for this please let me know.
To start off with, if you're playing in a game where the phrases "President Andrew Garfield", "Clowns of America" and "an imp wielding a fan blade" sound familiar to you, stop reading. This is about our campaign. ........................................................................... ........................................................................... ........................................................................... ...........................................................................Context: So, I am currently running a game set in a near future (2075) where magic has slowly been returning to the world, but is still mostly hidden, for the last 100 years. In this world their are 9 "gods" that rule over the following: 1. Urbos- cities, civilization, law, order 2. Fabulaz- Stories, legends, myths 3. Libertas- Freedom, liberty, Justice, fairness 4. Messor- Death, fate, burials, afterlife 5. Vita- Life, nature, wildlife, predatoprey relationships 6. Technos- The internet, technology, engineering 7. Penucia- Merchants, gambling, wealth 8. Null- Undeath, necromancy, secrets 9. Vaccus- Emptiness, vaccumes, nothing.
The big secret with all of this (and the big thing the party doesn't know) is that all but one of the gods listed above are not actually "gods". They are all creatures "blessed" by the 9th god with insane power over something mortals fear. The 9th god, Vaccus, is the only real god. However they are closer to a lovecraftian diety and the entire campaign setting takes place in Vaccus's dreams.
The Story (the party doesn't know this either): A cult, being lead by somebody who was cursed with immortality and wants to die, is going to try several methods of killing their leader. Their last ditch attempt will be to try and wake up Vaccus, as if this being wakes up it would result in the end of everything in an instant. The best and most efficient way to do that is by turning Vaccus's dream into a nightmare. They plan on doing this by "forcing" the creation of a new god like entity that will embody a fear of destruction and a comming apocalypse, I am tentatively calling it Apolyon, but I'm not entirely sold on that name. Their first step in doing this was to take over large portions if the world's government by killing and replacing important officials with dopplegangers. They've done this without issues in Russia, China and Sweden, but they fucked up in the US when the president's (if you read the above, yes the current president is Andrew Garfield AKA one of the spidermen) daughter escaped and the assasination "attempt" got leaked to the news.
What the party knows: The attempt on the president's life was orchestrated by an unknown entity using dopplegangers. To cover their tracks, the "president" (who they correctly assume is actually a doppelganger) anounced that it was his daughter who made the attempt on his life, saying she has fallen in with a group of eco terrorists who have supposedly taken responsibility for the attack. They know this isn't true because they saved both the president's daughter AND a secret service agent from a car crash/doppleganger attack and both are now traveling with them. The goal is to remove the way the dopplegangers are tracking the president's daughter and bring her to an military base that has been both decomissioned and wiped from any US database. The only reason they know about it is because the president verbally told the Secret Service agent about it in the past as a "if all other options to protect my daughter fail, go here."
What the party will soon discover: The military base in question is actually an abandoned neighborhood that the government used during the mid to late 70s (when magic was first starting to return to the world) to conduct MKUltra style experiments. Their plan was to try and spy on people through their dreams. They had the most tangential success with artists of varying mediums but they could not control who's dreams they were entering and influencing, with many of them going insane. The reason many of them went insane was because they were entering the subconsious dreams of Vaccus (almost like if you were to lucid dream but instead of you realizing its a dream, the people and characters in your dream realized they were in your dream), meaning they were 1. Witnessing incomprehensible things that a eldritch creature would dream of in their deep subconsious and 2. Seeing the entire history of the universe play out before them in what felt like in real time, but was acually only done in the span of a few minutes to a few hours if they were lucky. This lead to those who were still somewhat coherent to make art depicting some of the things they saw, but in a stylized way. For example, poems about something that should not be, paintings and sculptures of the birth of each god, stories that, when you read between the lines, speak of a world ending calamity that would cause Vaccus to wake up, ect...
What I'm looking for help with is comming up with different pieces of art that will make the full puzzle. So like a poem tells part of one story, a description of a short film depicts another, a painting, children's book ect... I want at least 9 or so different pieces that can describe the reveal mentioned above with 1 for each worshiped god and the 9th being a description of creating a nightmare for Vaccus. The idea is that each description/art piece tells a different part of the same story, but the party won't get them in order. I have come up with some ideas for the different art pieces, but I want some more ideas or suggestions. I also want different people to give their descriptions and I feel that if it was just me making all of these descriptions, they would all feel way too similar and give off the feel of "one person trying 9 different mediums" than "9 different artists telling the same story". I have an idea for the 1st one chronologically that takes the form of a children's book that decribes a little boy who is tormented by his older siblings and thus escapes to his dreams to find friends (the other gods) and go on adventures. It would be unfinished with the party only finding the first few pages depicting the boy make the Gods Vita and Messor to populate the world and give life meaning. I plan on refining it a bit more and using more symbolism than what I described above but I think it gives the general idea.
Sorry for the long post, I've been thinking of this idea for a long time and only now the party is getting close enough to it for me to really start planning for it. TLDR; What are some different descriptions of art works (poems, stories, paintings ect...) that when put together tell the story of the world's creation and reveal the fact that the setting takes place in the dreams of an eldritch entity. I would love to hear what you all have to offer to this.

Hidehi!! I'm Amélie, 13 years old ( Almost 14!!! ) and I'm from The Netherlands! I already placed something on here, but since it disappeared and I'm still looking for a pen pal, I do it again! I'm looking for a pen pal around my age to exchange beautiful creative cards and letters with, for example with drawings, stickers and poems in it, but aswell someone to build up an amazing friendship with, and get to know them alot!!
Sum Things about me!!

• I'm very crazy and lazy
  
• My styles are Y2K, kawaii and aesthetic
  
• I like spool knitting, writing, drawing, singing, watching tv, playing games, penpalling and much moree
  

Okayy that's a bit about me!!
I really hope I get a pen pall!

Spoilers ahead…
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.

1. Terza Rima: A poetic form consisting of tercets (three-line stanzas) with interwoven rhymes, often used by Dante in "The Divine Comedy."
   
2. Clerihew: A humorous and whimsical poem of four lines, with irregular meter and rhymes, focusing on a person, often the poet.
   
3. Triolet: An eight-line poem with a specific rhyme scheme (ABaAabAB), featuring repeated lines.
   
4. Ballad: A narrative poem often set to music, telling a story with a strong rhythm and rhyme.
   
5. Renga: A collaborative form of Japanese linked-verse poetry, typically composed by multiple poets in alternating stanzas.
   
6. Senryu: Similar to haiku, but focuses on human nature and emotions rather than nature itself.
   
7. Paradelle: A complex and rare form of poetry that repeats lines with variations, creating a challenging structure.
   
8. Golden Shovel: A form where each word in a line of an existing poem is used as the end word in a line of the new poem.
   
9. Haibun: A combination of prose and haiku, often describing a journey or a nature experience.
   
10. Villancico: A medieval Spanish poetic form often used in songs and carols, characterized by repetition and refrains.
    
11. Palindrome Poetry: A poem that reads the same backward as forward, creating a mirrored effect.
    
12. Blackout Poetry: Creating poetry by selectively redacting or highlighting words from an existing text, often creating a visual element.
    
13. Tetractys: A five-line poem with a syllable count of 1, 2, 3, 4, 10, creating a pyramid shape.
    
14. Rubaiyat: A Persian form of poetry with quatrains, typically written in iambic pentameter with the rhyme scheme AABA.
    
15. Fibonacci Poem: A poem following the Fibonacci sequence for syllable counts in each line (0, 1, 1, 2, 3, 5, 8, 13, etc.).
    
16. Calligram: A visual poem in which the words or letters are arranged in a shape that reflects the poem's subject.
    
17. Shape Poetry: Poems that take on a visual shape related to their subject, enhancing the overall meaning.
    
18. Tanka Prose: A prose poem followed by a tanka, combining the concise nature of prose with the emotional depth of tanka.
    
19. Found Poetry: Creating poetry from existing texts or found materials, rearranging and recontextualizing words.
    
20. Blitz Poem: A form of poetry with a rapid, stream-of-consciousness style, using repetition and wordplay.
    
21. Sevenling: A seven-line poem with specific guidelines, including three lines with three elements, and a concluding statement in one line.
    
22. Pantun: A Malay poetic form with quatrains, featuring an interlocking rhyme scheme between stanzas.
    
23. Cento: A collage-like poem composed entirely of lines from other poems.
    
24. Cinquain Chain: Connecting multiple cinquains to create a longer poem or narrative.
    
25. Rhyme Royal: A seven-line stanza with a specific rhyme scheme (ABABBCC), used by Geoffrey Chaucer.
    
26. Haiga: A combination of haiku and visual art, where an image complements the haiku.
    
27. Minute Poem: A strict 60-syllable poem with a 8-4-4-4 structure and specific rhyme scheme (aabb).
    
28. Nonet: A nine-line poem with a descending syllable count in each line, often 9-8-7-6-5-4-3-2-1.
    
29. Tanka Tumble: A series of linked tanka poems, creating a flowing narrative.
    
30. Dramatic Monologue: A poem in which a character speaks directly to an audience, revealing their thoughts and emotions.
    

My partner (in life and business) and I are opening our first escape room! We're currently in the purchase phase of the building and working out the rooms.
We've got 5 out of the 7 ironed out. The last two are stumping us.
One of them is a small room we keep calling the puzzle room and is a single room 15x15. I want that one to be a date night/communication/team work style room for 2-4 people and I'm running out of ideas. Every puzzle should require TWO people to communicate and work together.
What 2 person puzzles have you seen that just floored you? Thought where incredibly clever? Really made you work together.
So far we have a painting that swings out with a maze on the back and a magnet to be found to move a metal ball with a key through the maze. Have to communicate to the other side with the magnet, key opens a lock box with a black light
Black light shows two hand prints that you've got to hold hands and touch together to complete the circuit. Have to solve a riddle that leads to the clue for that one.
The painting will be a painting of the room with various things like wall lights and deer antlers in certain positions. Have to adjust the lamps/antlers to unlock (catch is you can only reach two items per person and they swing back to the right position. They'll trigger a door behind the fire place for a journal filled with love poems/how much the rooms owner loves his wife and how when they held hands/talked through things they could solve any problem. And hints and clue for a couple other puzzles.
We've got a few puzzle pieces scattered that have to find the right place on the mantle to give a clue for another puzzle. Shoes that have to be placed by the door matt in the right order, coat hook and parasole (opening it gives a code/clue when you hold it up to a certain light) and apothic chest with potions/viles placed in the right order give a lock box code. Clues for puzzles are on the other side of the room and fixed so one person reads other person solves etc. Book case that you have to rearrange to order for a cabinet to open.
I seriously want this one to be focused on team work as a couple. What 2 person puzzles have you seen that just floored you? Thought where incredibly clever? Really made you work together and communicate. I'm trying not to duplicate puzzles from other rooms and my brain has just been over saturated lately.

this is a heavy book to read because its main connecting thread is sexual violence against women but its really an amazing read and i think it has a lot of what i loved about disco elysium.
the style of writing is similarly contemplative and percussive. it has similar pacing and like disco elysium it writes in a poignant way that makes simple descriptions of situations or actions double as little almost-poems without taking focus away from the actual action. its written like a nice combination of shivers, empathy, and encyclopedia.
it also shares conceptual similarities with disco elysium. it takes place in a forgotten, poor and dreary quarter of a big city, and its about imperfect people trying to navigate the inherently traumatic effects of life in poverty and its consequences.
idk i just found this book at the bookstore and it randomly really resonated with me in many of the same ways that disco elysium did when i first played it and still to this day after countless playthroughs

1. Islam is the only religion not named after a person or a tribe.
2. The literary irreproducible miracle is well supported.

Even scholars agree. That's the consensus.
Arthur John Arberry said "to produce something which might be accepted as echoing however faintly the sublime rhetoric of the Arabic Koran, I have been at pains to study the intricate and richly varied rhythms which constitute the Koran's undeniable claim to rank amongst the greatest literary masterpieces of mankind."
Karen Armstrong said "It is as though Muhammad had created an entirely new literary form that some people were not ready for but which thrilled others. Without this experience of the Koran, it is extremely unlikely that Islam would have taken root."
Oliver Leaman said "the verses of the Qur'an represent its uniqueness and beauty not to mention its novelty and originality. That is why it has succeeded in convincing so many people of its truth. it imitates nothing and no one nor can it be imitated. Its style does not pall even after long periods of study and the text does not lose its freshness over time."
E.H. Palmer said "That the best of Arab writers has never succeeded in producing anything equal in merit to the Qur’an itself is not surprising."
Also, another quote "Scholar and Professor of Islamic Studies M. A. Draz affirm how the 7th-century experts were absorbed in the discourse that left them incapacitated: “In the golden age of Arab eloquence, when language reached the apogee of purity and force, and titles of honour were bestowed with solemnity on poets and orators in annual festivals, the Qur’anic word swept away all enthusiasm for poetry or prose, and caused the Seven Golden Poems hung over the doors of the Ka’ba to be taken down. All ears lent themselves to this marvel of Arabic expression."
Also, "Professor of Qur’anic Studies Angelika Neuwrith argued that the Qur’an has never been successfully challenged by anyone, past or present: “…no one has succeeded, this is right… I really think that the Qur’an has even brought Western researchers embarrassment, who wasn’t able to clarify how suddenly in an environment where there were not any appreciable written text, appeared the Qur’an with its richness of ideas and its magnificent wordings.”
Not to mention Hussein Abdul-Raof. "Hussein Abdul-Raof continues “The Arabs, at the time, had reached their linguistic peak in terms of linguistic competence and sciences, rhetoric, oratory, and poetry. No one, however, has ever been able to provide a single chapter similar to that of the Qur’an.”"
Yes, all of them are experts in Quran and in Literature. Lots of credible scholars say that the quran is inimitable.
Laid Ibn Rabah, one of the poets of the seven odes, stopped writing poetry and converted to Islam because of it.
The Qur'an's rhyme scheme is very organized, some of the best out there. Not to mention that it came out spontaneously.
It uses ten rhetorical devices in 3 words at one point. Someone tried to use more. Even though it does, people still mocked it for how it didn't meet the challenge. He used punctuation. (https://www.reddit.com/exmuslim/comments/18o5y0w/the\_rationalizer\_had\_a\_version\_of\_the\_quran/)
And apparently, if it were by a human, it would not contain a challenge, because he would be afraid people would complete it. This book issued a challenge that apparently nobody completed.

1. The Qur'an predicted that the Byzantines will win the Byzantine-Sassanid war within 9 years, even though they lost the recent battle.

The Romans have been defeated in a nearby land. Yet following their defeat, they will triumph within three to nine years.

(https://quran.com/30?startingVerse=3)
Now this is massive because it is unthinkable that a defeated army would win a war.

1. The Qur'an knew that pain receptors are in the skin.

Surely those who reject Our signs, We will cast them into the Fire. Whenever their skin is burnt completely, We will replace it so they will ˹constantly˺ taste the punishment. Indeed, Allah is Almighty, All-Wise.

(https://quran.com/en/an-nisa/56 )

1. The Qur'an knew about the rose nebula.

˹How horrible will it be˺ when the heavens will split apart, becoming rose-red like ˹burnt˺ oil!

(https://quran.com/en/ar-rahman/37 )

1. The Qur'an knew that wind holds the clouds up.

And it is Allah Who sends the winds, which then stir up ˹vapour, forming˺ clouds, and then We drive them to a lifeless land, giving life to the earth after its death. Similar is the Resurrection.

(https://quran.com/en/fati9 )
The USGS say, "Even though a cloud weighs tons, it doesn't fall on you because the rising air responsible for its formation keeps the cloud floating in the air. The air below the cloud is denser than the cloud, thus the cloud floats on top of the denser air nearer the land surface". (https://www.usgs.gov/special-topic/water-science-school/science/condensation-and-water-cycle?qt-science\_center\_objects=0#qt-science\_center\_objects)
The 'Scientific American' says, "Upward vertical motions, or updrafts, in the atmosphere also contribute to the floating appearance of clouds by offsetting the small fall velocities of their constituent particles. Clouds generally form, survive and grow in air that is moving upward". (https://www.scientificamerican.com/article/why-do-clouds-float-when/).
Peggy Notebaert Nature Museum says, "There are several reasons clouds float: first, the droplets in a cloud are small. Very small..................The second reason that clouds can float in the air is that there is a constant flow of warm air rising to meet the cloud: the warm air pushes up on the cloud and keeps it afloat". (https://www.naturemuseum.org/the-museum/blog/how-do-clouds-float#).
(https://www.reddit.com/DebateReligion/comments/eg25t7/the\_quran\_is\_a\_scientific\_gem\_quran\_miraculously/ )

1. The Qur'an knew that the atlantic and pacific ocean are different colors. They don't mix.

Q55:19-20

He merges the two bodies of ˹fresh and salt˺ water, yet between them is a barrier they never cross.

( https://quran.com/55?startingVerse=19)
If that's not true, how does one explain this photo. ( https://www.livescience.com/planet-earth/rivers-oceans/do-the-pacific-ocean-and-the-atlantic-ocean-mix)

1. The odd-even miracle.

Add the verse count to the chapter number, we get 57 odd and 57 even sums.
All 57 odd sums add up to 6555. Not only is that odd, that is all numbers from 1-114 added up.
All even numbers add up to 6290. That is how many verses in total there are in the Qur'an .
(https://www.reddit.com/exmuslim/comments/ds6juf/yaa\_ayyuhal\_kafiroon\_the\_quran\_is\_mathmetically/ )
Muhammad was illiterate, so how could he even remember his own numbers?
Also, a verse in the Qur'an hints at it, 89:3.

By the dawn, and the ten nights, and the even and the odd, and the night when it passes! Is all this ˹not˺ a sufficient oath for those who have sense?

( https://quran.com/89?startingVerse=1)

1. The Qur'an gets embryology right in considering that it looks like a leech at one point, looks like a lump with a bite taken out of it at another. Also in that hearing is before sight.

You can see Keith Moore, an embryologist show his work with this document. ( https://pdfs.semanticscholar.org/1194/79036bd3704127bbb25378174bfcd5b9f088.pdf)
Don't say "Galen" because Galen and the Qur'an contradict on embryology. Also, how did Muhammad know about Galen's work?
This paper by Nadeem Arif Najmi explains it in more detail. (https://www.call-to-monotheism.com/a\_muslim\_answer\_to\_criticism\_of\_\_embryology\_in\_the\_qur\_an\_\_\_by\_nadeem\_arif\_najmi)

1. The Qur'an knew about altitude sickness.

Whoever Allah wills to guide, He opens their heart to Islam. But whoever He wills to leave astray, He makes their chest tight and constricted as if they were climbing up into the sky. This is how Allah dooms those who disbelieve.

(https://quran.com/6?startingVerse=125 )
The highest mountain is Saudi Arabia is Jabal Dakkah, at 2585 meters. (https://peakery.com/jabal-dakah-saudi-arabia/ ) Already, altitude sickness has begun at that height (https://www.betterhealth.vic.gov.au/health/healthyliving/altitude-sickness ), but I don't think that Muhammad has even climbed that mountain.

1. The Qur'an knew that the ocean is darker as one goes in, and that there are internal waves in the ocean.

Or ˹their deeds are˺ like the darkness in a deep sea, covered by waves upon waves, topped by ˹dark˺ clouds. Darkness upon darkness! If one stretches out their hand, they can hardly see it. And whoever Allah does not bless with light will have no light!

(https://quran.com/24?startingVerse=40 )

1. The Qur'an knew about the water cycle.

Do you not see that Allah sends down rain from the sky—channelling it through streams in the earth—then produces with it crops of various colours, then they dry up and you see them wither, and then He reduces them to chaff? Surely in this is a reminder for people of reason.
(https://quran.com/en/az-zuma21)

We send down rain from the sky in perfect measure, causing it to soak into the earth. And We are surely able to take it away.

(https://quran.com/en/al-muminun/18 )
Infiltration and runoff mentioned.

We send fertilizing winds, and bring down rain from the sky for you to drink. It is not you who hold its reserves.

(https://quran.com/en/al-hij22 )
(https://www.thelastdialogue.org/article/water-cycle-mentioned-in-quran/#Miracle\_in\_the\_use\_of\_word\_%D9%85%D9%8E%D8%A7%D8%A1%D9%8B )
13/14. The Quran knew about the big bang. The Quran also knew that before the devonian age, life was not on land.

Do the disbelievers not realize that the heavens and earth were ˹once˺ one mass then We split them apart? And We created from water every living thing. Will they not then believe?
(https://quran.com/en/al-hij22 )
The second part could mean that even non-carbon life needs water.
Don't say Thales because Thales said that everything came from water, not life.
Bonus: The Sunnah knew that the Arab lands were once green.

The Last Hour will not come before wealth becomes abundant and overflowing, so much so that a man takes Zakat out of his property and cannot find anyone to accept it from him and till the land of Arabia reverts to meadows and rivers.

(https://sunnah.com/muslim:157c )
The Sunnah not only knew that arabia is turning green at the moment, it also knew that Arabia was once green. Ta'ood doesn't mean become, but it means revert. So, it does not mean that it will mean become.
There are lots more prophecies in the Quran and Hadith that have been fulfilled. You can see the yaqeen institute's list right here. (https://yaqeeninstitute.org/read/papeed/the-prophecies-of-prophet-muhammad )

Welcome to Poetry Corner

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

This Month’s Challenge

Theme: Gravity IP MP Bonus Constraints:

• Lean into horror, either thematically or narratively.

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

Schedule

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

  How To Participate

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

Point Breakdown

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

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

Rankings for Echoes

Winners:

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

Subreddit News

• Join our Discord to chat with other authors and prompters! We hold several weekly Campfires, monthly World-Building interviews, and several other fun events!
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• Nominate your favorite WP authors for Spotlight and Hall of Fame!
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• Serialize your story with Serial Sunday or test your micro-fic skills with Micro Monday on ShortStories! ***

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

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

According to the Blur issue of Mojo, this was what made it to the cutting room floor for Parklife:
“Returning to the studio, the band recorded 14 more songs between December and the middle of February, 10 of which would appear on Parklife. To give an idea of the sheer variety of material being attempted, these 14 tracks included two waltzes; a song that nodded musically to Magazine; another with a rhythm based on the Tom Tom Club (featuring a surging Robert Fripp-style solo from Coxon); a William Blake poem set to music; a samba; an inventory of moons and stars sung by Alex James; a conceptual piece based loosely on the character of Ziggy Star-dust; and an emotional finale to the album with lyrics inspired by a handkerchief showing a map of Britain and its shipping regions. Just as there is much more to Sgt. Pepper than Billy Shears and the band you've known for all these years, there is much more to Parklife than Phil Daniels and dirty pigeons.”

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

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

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

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

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

1. Shipra Mishra’s YouTube videos

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

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

**** indian pol

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

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

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

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

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

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

1. IED
   

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

2. Macro
   

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

BEST RESOURCES:

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

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

1. PYQS (last 15 years)

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

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

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

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

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

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

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

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

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

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

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

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

Legal Professions Again, divide into 2 parts:

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

Legal Services: Simple hai sabse zyada!

 ->make good notes 

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

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

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

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

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

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

1. Shipra Mishra’s YouTube videos

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

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

**** indian pol

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

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

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

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

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

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

1. IED
   

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

2. Macro
   

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

BEST RESOURCES:

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

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

1. PYQS (last 15 years)

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

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

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

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

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

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

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

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

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

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

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

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

Legal Professions Again, divide into 2 parts:

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

Legal Services: Simple hai sabse zyada!

 ->make good notes 

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You don’t love me.
You love an idea of me you fabricated in your mind when I was a child.
I’m no longer a child.
I’m far from perfect, but I’m growing, I’m glowing, and I’m grieving the reality that none of you will ever know the person I become.
You call it love, but my scars disagree.
You hate my hair, my style, my beliefs—you hate me.
And the saddest part is, I don’t even think you know you do.
-u/Nocontact4you, Poem: Arrogance is Bliss

Course Title: Exploring the Panorama of Poetry
Course Description: This course delves into the rich tapestry of poetic forms, guiding students through the exploration and creation of fifty distinct styles of poetry. From classic sonnets to innovative forms like golden shovel and palindrome poetry, students will gain a comprehensive understanding of poetic expression, learning the nuances of each style and honing their creative skills.
Week 1-2: Introduction to Poetry and Sonnets - Overview of poetry styles - In-depth study of sonnets - Writing Exercise: Crafting a sonnet on personal experiences
Week 3-4: Embracing Haiku and Villanelle - Understanding the elegance of haiku - Exploring the repetitive beauty of villanelles - Writing Exercise: Composing haikus inspired by nature
Week 5-6: Limericks and the Art of Humor - Decoding the humor in limericks - Crafting limericks with wit and wordplay - Writing Exercise: Creating humorous limericks on everyday topics
Week 7-8: Free Verse and Acrostic Poetry - Liberating creativity through free verse - Playing with words in acrostic poems - Writing Exercise: Expressing emotions through free verse
Week 9-10: Ghazal and Tanka Mastery - Unveiling the beauty of ghazals - Crafting tankas with precision - Writing Exercise: Creating a ghazal on themes of love and longing
Week 11-12: Cinquains and Pantoum Prowess - Perfecting the art of cinquains - Embracing the rhythmic challenges of pantoums - Writing Exercise: Developing a pantoum on personal growth
Week 13-14: Sestina and Rondeau Exploration - Mastering the intricacies of sestinas - Crafting rondeaus with musicality - Writing Exercise: Composing a sestina on the theme of time
Week 15-16: Triolets and Kyrielles - Understanding the charm of triolets - Embracing the structure of kyrielles - Writing Exercise: Crafting a triolet on the beauty of simplicity
Week 17-18: Ode to Joyful Ballads - Writing joyful odes - Crafting narrative ballads - Writing Exercise: Creating an ode celebrating personal achievements
Week 19-20: Epic Journeys and Blank Verse - Exploring epic storytelling - Mastering the art of blank verse - Writing Exercise: Composing a blank verse poem reflecting on personal reflections
Week 21-22: Petrarchan Musings and Terza Rima Mastery - Delving into Petrarchan sonnets - Crafting poems using terza rima - Writing Exercise: Writing a Petrarchan sonnet on conflicting emotions
Week 23-24: Renga Collaboration and Prose Poetry - Collaborative renga creation - Experimenting with prose poetry - Writing Exercise: Crafting a prose poem inspired by a vivid memory
Week 25-26: Concrete Poetry and Narrative Art - Creating visual impact with concrete poetry - Mastering the art of narrative poetry - Writing Exercise: Developing a narrative poem based on personal experiences
Week 27-28: Pastoral Elegies and Morning Aubades - Writing pastoral poetry - Crafting mournful elegies - Writing Exercise: Composing an aubade capturing the essence of dawn
Week 29-30: Ekphrastic Marvels and Found Poetry Adventures - Creating poetry inspired by art - Crafting poems through found materials - Writing Exercise: Developing an ekphrastic poem based on a chosen artwork
Week 31-32: Epigrams and Clerihew Laughter - Crafting witty epigrams - Writing humorous clerihews - Writing Exercise: Composing a clerihew about a contemporary figure
Week 33-34: Quatrains and Double Dactyl Delight - Mastering the art of quatrains - Crafting light-hearted double dactyls - Writing Exercise: Creating a quatrain reflecting on the beauty of simplicity
Week 35-36: Terzanelles and Haibun Adventures - Crafting terzanelles with precision - Exploring the combination of prose and haiku in haibun - Writing Exercise: Composing a haibun narrating a meaningful travel experience
Week 37-38: Golden Shovel Challenges and Villancico Celebrations - Creating poems using the golden shovel technique - Crafting festive villancicos - Writing Exercise: Developing a golden shovel poem using a line from a favorite poem
Week 39-40: Tercet Beauty and Sevenling Narratives - Embracing the charm of tercets - Crafting sevenlings with narrative flair - Writing Exercise: Composing a sevenling reflecting on a vivid childhood memory
Week 41-42: Palindrome Reflections and Parallelismus Membrorum Insights - Creating palindrome poetry - Crafting poems using parallelismus membrorum - Writing Exercise: Developing a palindrome poem exploring balance in life
Week 43-44: Rubaiyat Contemplations and Blues Poem Expressions - Exploring Persian poetry with rubaiyats - Crafting poems inspired by the blues - Writing Exercise: Composing a rubaiyat on themes of love or mortality
Week 45-46: Erasure Transformations and Anaphora Intensity - Crafting poetry through erasure - Mastering the use of anaphora - Writing Exercise: Creating an erasure poem using a page from a novel or newspaper
Week 47-48: Tetractys and Sijo Harmonies - Crafting tetractys with specific syllable counts - Exploring traditional Korean poetry with sijo - Writing Exercise: Developing a sijo capturing a moment of beauty or introspection
Week 49-50: Blitz Poem Exploration and Epitaph Conclusions - Crafting blitz poems with rapid expression - Writing poignant epitaphs - Final Project: Compose an original poem using a style of the student's choice, reflecting personal growth throughout the course.
Assessment: - Weekly writing exercises - Participation in collaborative projects - Midterm and final projects showcasing mastery of chosen styles
Materials: - Poetry anthologies - Artworks for ekphrastic exercises - Writing journals - Selected readings for each style
Prerequisites: None. Open to all students with an interest in poetry and creative expression.

I am a Sanskrit beginner studying in Germany. The first Sanskrit poem introduced in my textbook, which is composed by Thomas Lehmann, is Sri Ramodantam. However, this poem Is different from the conception of poem I have in mind, because it attempts to condense the complex events of Ramayana in limited verses. Thus, it seems that very verse hurries to tell an event. Is this a common style in Sanskrit poem? Also, I heard that this poem counts as Kavya. Could somebody tell me whether it does?

Naturally, I came to know Orwell with 1984, which I read roughly three years ago in a Russian translation. I was at my humble beggining in discovering literature, and the book impressed me chiefly trough its deep theoretical base, the atmosphere of utter lack of hope and ingenious terms such as 'doublethink' - anyway, you probably know what I am talking about
Yet it was only much later that I read his other literary works - namely, those indicated in the title. There, I discovered Orwell as a great analytic of human psychology, an inventive storyteller. Both novels have a bleak atmosphere with a bit of dark humor and somewhat foreshadow themes that would appear in 1984.
In Keep the Aspidistra Flying, Orwell depicts a peculiar intellectual named Gordon Constock, almost thirty and "already moth-eaten." The gist is that he refused his status and prospects of a "good job" in order to avoid being subservient to "the Money God" - that is, he lowers himself on the social scale, living in self-imposed penury, working in a bookshop. Generally, this Gordon would seem like an off-putting person, constantly frustrated, whining and complaining, raving about the 'end of civilization', a little bit sexist, and a great deal pessimist. The reader is plunged into his interior monologue and obsessive thoughts, which are captivating to follow. The plot revolves around his fight with the Consumerist system - however, as you might have guessed, he is not a valliant knight in shining armor, but rather a vain nihilist with questionable worldview. This affects the relationship with other characters - his friend Ravelstorm (a self-proclaimed Marxist, who is distracted from thougths about the rough conditiond of the Proletariat by the soft appearance of his mistress), his self-abnegating sister Julia, etc. Also, Gordon tries to write poetry - and one of the poems is gradually 'conceived' throughout the novel, containing his impressions and emotions in a self-piteous, frustrated style - with quite a decent result I'd say. Besides, Orwell realistically describes some unpleasant aspects of London's life through the protagonist's actions: slums, squalor, drunkenness, and prostitution. Per general, a great read!
On the other hand, 'Coming up for air' describes a character who is an organic part of the system - a middle-aged clerk from a London's suburb, on the surface - a typical lower-middle-class and a family man, called George Bowling. The novel is written entirely through his perspective and keeps a rather melancholic tone. The narrator, with a rueful humor, talks a bit about himself, expressing a dissatisfaction with his menial life, yet remaining fatalistic about it. Then he starts an 80-or-so pages description of his pre-WW1 life and memories from a small town - and, frankly, it stirred my interest, being related in a vivid language. His rustic life is placed in contrast with the modern, after-war existence. This leads to nostalgia, and basically, the plot of the novel consists of an attempt to chase this feeling, to make it come true, to revive what has been long forgotten. The novel (published some months before the WW2) contains a distinct feeling of uncertainty, fear, and anguish about the future, expressed in various instances. The narrator asks himself what would become if the war starts - if the bombers arrive - which, as he thinks, will happen in 1941. But he fears not the destruction itself, but what would come after the pains of war - a new world of "rubber truncheons", slogans, suppression, hate. Something that Orwell will describe 11 years later in '1984'.
Overall, I think both books are worth reading. However, you have to expect that the protagonists - Gordon Comstock and George Bowling - might not be quite prepossesing.

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

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

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

Part I: Welcome to the Witchlight

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

Part II: Lost and Found

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

Part III: On the Trail of the Kenku

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

Part IV: Through the Looking Glass

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

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

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

&

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

When told to call the bride directly

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

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

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

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

The history of tarot is a fascinating journey that spans centuries and traverses various cultures. The origins of tarot cards can be traced back to 15th-century Italy, where they emerged as playing cards. The initial purpose of these decks was purely recreational, serving as a game known as "tarocchi" or "triumphi."

1. Early Playing Cards (15th Century):
   
   • Origin: Tarot cards likely originated in northern Italy in the early 15th century. The oldest surviving complete deck is the "Visconti-Sforza" deck, dating back to the 1440s.
   • Function: Originally used for games, tarot decks were adorned with symbolic imagery, including allegorical illustrations and trump cards.
2. Tarot in France (Late 15th Century):
   
   • Migration: Tarot cards crossed into France in the late 15th century, and the game evolved with the addition of the 22 trump cards, known as the Major Arcana.
   • Symbolism: The Major Arcana introduced iconic characters and archetypal symbols, enhancing the cards' allegorical significance.
3. Occult Associations (18th Century):
   
   • Esoteric Interest: In the 18th century, interest in the occult and mystical arts surged in Europe. Tarot cards gained esoteric significance, with scholars attributing hidden meanings to the cards beyond their gaming purpose.
   • Etteilla: The French occultist Etteilla published influential tarot interpretations, contributing to the transformation of tarot into a tool for divination and self-discovery.
4. The Rider-Waite-Smith Deck (Early 20th Century):
   
   • Revolutionary Design: In 1909, A.E. Waite and Pamela Colman Smith collaborated on the Rider-Waite-Smith deck, featuring vivid illustrations and intricate symbolism. This deck became immensely popular and served as the foundation for many modern tarot decks.
   • Divinatory Focus: The Rider-Waite-Smith deck emphasized the mystical and divinatory aspects of tarot, influencing the widespread adoption of tarot for spiritual and introspective purposes.
5. Tarot in the New Age Movement (20th Century Onward):
   
   • Popularization: The mid-20th century witnessed a surge in interest in mysticism, the occult, and alternative spiritual practices. Tarot cards gained popularity within the New Age movement, becoming a tool for self-reflection, divination, and personal growth.
   • Diverse Decks: The latter half of the 20th century saw the creation of diverse tarot decks, each with unique themes and interpretations, catering to different spiritual traditions and personal preferences.
6. Modern Tarot Practices (21st Century):
   
   • Global Appeal: Tarot has transcended cultural boundaries and gained a global following. The internet has played a significant role in disseminating tarot knowledge, making it accessible to a diverse audience.
   • Integration with Psychology: Many practitioners view tarot through a psychological lens, using the cards as a tool for introspection, therapy, and personal development.

The historical evolution of tarot reflects its transformation from a simple deck of playing cards to a versatile tool for divination, self-exploration, and spiritual guidance. Today, tarot continues to captivate individuals worldwide, offering a unique blend of ancient symbolism and contemporary relevance.

1. Diverse Tarot Systems and Cultural Influences:
   
   • Cultural Adaptations: Tarot has adapted to various cultural contexts, leading to the creation of decks that draw inspiration from different mythologies, traditions, and artistic styles.
   • Themed Decks: Modern tarot enthusiasts can explore decks inspired by Norse mythology, Celtic traditions, Eastern philosophies, and more, allowing for a rich diversity of interpretations and connections.
2. Tarot and Popular Culture:
   
   • Media Exposure: Tarot has found its way into mainstream media, with references in literature, movies, and television series. This exposure has contributed to its widespread recognition and acceptance.
   • Creative Interpretations: Popular culture has inspired artists and creators to produce tarot decks with themes ranging from fantasy and science fiction to contemporary pop culture references, showcasing the adaptability of tarot symbolism.
3. Tarot in Digital Age:
   
   • Online Platforms: The digital age has transformed tarot readings, making them accessible through online platforms and mobile apps. Virtual tarot readings and communities provide a global forum for discussion and learning.
   • Digital Decks: Tarot decks are now available in digital formats, enabling users to explore and engage with the cards through virtual platforms, expanding the reach of tarot practices.
4. Tarot as a Personalized Tool:
   
   • Self-Expression: Many individuals now create their own tarot decks, infusing personal symbols, experiences, and artistic styles into the cards. This personalized approach enhances the connection between the user and the cards.
   • Intuitive Reading: Modern tarot practices often emphasize intuitive reading, encouraging users to trust their instincts and personal interpretations rather than relying strictly on traditional meanings.
5. Scientific and Skeptical Perspectives:
   
   • Psychology and Tarot: Some psychologists view tarot as a projective tool that can tap into the unconscious mind, offering insights into one's thoughts and emotions.
   • Skepticism and Tarot: Skeptics often approach tarot from a psychological or statistical standpoint, exploring the phenomenon through the lens of cognitive biases and the placebo effect.
6. Tarot Communities and Education:
   
   • Learning Resources: The availability of books, online courses, and workshops has contributed to the education and skill development of tarot practitioners. This has empowered individuals to deepen their understanding of tarot symbolism and interpretation.
   • Community Engagement: Tarot communities, both online and offline, provide platforms for sharing experiences, seeking guidance, and fostering a sense of community among practitioners.

As tarot continues to evolve, its rich history merges with contemporary influences, shaping a dynamic and diverse landscape. Whether embraced for spiritual guidance, artistic expression, or personal insight, tarot remains a versatile and enduring tool that resonates with individuals on their unique journeys of self-discovery.

1. Tarot Ethics and Professionalization:
   
   • Code of Ethics: In modern tarot practices, professional readers often adhere to ethical guidelines. These guidelines emphasize confidentiality, client empowerment, and responsible use of divination tools.
   • Certification and Training: Some tarot practitioners pursue formal training and certification programs to enhance their skills and professionalism, contributing to the recognition of tarot reading as a legitimate and ethical practice.
2. Scientific Research on Tarot:
   
   • Psychological Studies: While scientific research on tarot is limited, some studies explore the psychological aspects of tarot reading. Research has investigated how individuals interpret symbols, engage in reflective thinking, and experience a sense of empowerment through tarot readings.
   • Cognitive Science Perspectives: Tarot's intersection with cognitive science has led to examinations of how the mind processes symbolic information and the impact of belief systems on perception.
3. Tarot and Intersectionality:
   
   • Inclusivity: Tarot communities increasingly emphasize inclusivity, recognizing the importance of diverse perspectives, cultures, and identities. Decks that reflect a broader range of experiences and backgrounds contribute to a more inclusive tarot landscape.
   • Intersectional Readings: Practitioners may integrate intersectionality into their readings, acknowledging the complexity of individual identities and experiences within a broader social context.
4. Tarot's Influence on Art and Literature:
   
   • Literary Works: Tarot symbolism has inspired numerous works of literature, poetry, and art. Authors and artists often incorporate tarot themes to explore psychological, spiritual, and philosophical concepts.
   • Tarot in Visual Arts: Tarot continues to be a muse for visual artists, with contemporary artworks reimagining and interpreting the traditional tarot archetypes in new and innovative ways.
5. Tarot and Holistic Wellness:
   
   • Mind-Body-Spirit Connection: Tarot is increasingly integrated into holistic wellness practices that emphasize the interconnectedness of mind, body, and spirit. It complements approaches like meditation, mindfulness, and energy healing.
   • Wellness Retreats and Workshops: Wellness retreats and workshops may incorporate tarot as a tool for self-reflection, personal growth, and stress reduction, aligning with the broader holistic wellness movement.
6. Tarot and Technology Integration:
   
   • Mobile Apps and Online Platforms: Technology has facilitated the accessibility of tarot through mobile apps and online platforms, offering virtual readings, digital decks, and interactive tarot experiences.
   • Augmented Reality and Virtual Reality: Emerging technologies like augmented reality (AR) and virtual reality (VR) have the potential to transform tarot experiences, providing immersive and interactive readings.

The ongoing evolution of tarot reflects its adaptability to societal changes, technological advancements, and a growing understanding of its psychological and symbolic dimensions. As it continues to weave through various aspects of contemporary life, tarot remains a dynamic and versatile tool with enduring relevance.

1. Tarot and Social Media:
   
   • Online Communities: Social media platforms, such as Instagram, TikTok, and YouTube, have become hubs for tarot enthusiasts. Tarot readers share daily card pulls, interpretations, and create educational content, fostering a vibrant online community.
   • Global Connections: Social media has facilitated global connections among tarot practitioners, allowing for the exchange of diverse perspectives, interpretations, and deck recommendations.
2. Tarot in Mental Health Practices:
   
   • Therapeutic Applications: Some mental health professionals incorporate tarot into therapeutic practices, using it as a tool for self-reflection, exploration of emotions, and promoting therapeutic dialogue.
   • Mindfulness and Coping: Tarot readings can be used as a mindfulness practice, helping individuals cultivate self-awareness and coping strategies for managing stress, anxiety, and mental health challenges.
3. Tarot's Evolving Symbolism:
   
   • Living Symbolism: Tarot symbolism is not static; it evolves over time. Modern tarot decks often reinterpret traditional symbols to reflect contemporary values, ensuring that the cards remain relevant and resonant with current cultural contexts.
   • Innovative Decks: Artists continue to create innovative tarot decks that explore diverse themes, introducing new symbols and archetypes that speak to a wide range of experiences.
4. Tarot and Ritual Practices:
   
   • Ritualistic Use: Tarot is incorporated into various ritual practices, from simple daily card pulls to more elaborate ceremonies. These rituals can serve as a form of meditation, intention-setting, or connection with spiritual energies.
   • Seasonal Celebrations: Some practitioners align tarot practices with seasonal changes, using specific spreads or decks to explore themes associated with the solstices, equinoxes, and other significant astrological events.
5. Tarot and Gender Representation:
   
   • Expanding Archetypes: Modern tarot decks often challenge traditional gender roles and expand archetypal representations. Decks may feature diverse gender identities and expressions, offering a more inclusive and fluid understanding of the archetypal energies within the cards.
   • Feminist Tarot: Some decks explicitly adopt feminist perspectives, reimagining traditional tarot symbolism to empower and celebrate the diverse experiences of individuals across the gender spectrum.
6. Tarot as Literary Inspiration:
   
   • Literary Works and Tarot: Tarot continues to inspire literary works, with novels, poems, and plays incorporating tarot themes and archetypes. Authors explore the psychological and symbolic depths of tarot, infusing their narratives with mystical and esoteric elements.
   • Narrative Exploration: Tarot's narrative potential serves as a source of inspiration for storytellers, offering a structure that mirrors the hero's journey or provides a framework for exploring characters' internal and external conflicts.

The dynamic interplay between tarot and contemporary culture reveals its enduring appeal and adaptability. From social media platforms to therapeutic practices, tarot remains a versatile tool that resonates with individuals seeking insight, connection, and personal growth in an ever-changing world.
In conclusion, the history and evolution of tarot reflect its remarkable journey from humble playing cards to a multifaceted tool deeply embedded in modern culture. As tarot continues to weave its way through diverse aspects of society, from online communities to therapeutic practices, its enduring relevance lies in its adaptability, symbolism, and capacity to inspire self-discovery.
From the mysterious origins of the 15th century to its current role as a global phenomenon, tarot has transcended cultural and historical boundaries. As it integrates with technology, influences art and literature, and finds new applications in mental health and wellness, tarot remains a dynamic force that resonates with those seeking spiritual insights, artistic expression, and personal transformation.
Whether approached through a psychological lens, as a form of self-reflection, or as part of broader cultural movements, tarot's journey reflects the human quest for meaning, connection, and the exploration of the inner self. Its rich tapestry of symbolism continues to captivate individuals across the globe, making tarot a timeless and ever-evolving companion on the diverse paths of human experience.

Title says it all, this post is a deep dive into the Sonic Adventure 2 OST, specifically all the songs pertaining to Knuckles. This is for a few reasons that I’ll get into in a moment, but from what I’ve seen Knuckles’ and Rouge’s soundtracks tend to get overlooked or written off by fans (More so Knuckles’) unfairly so in my opinion.
This post will serve, not only to analyze the music itself, but also Knuckles’ characterization, as you’ll see the two are basically intrinsically linked.
Just a quick disclaimer, I’m not a musician nor am I that musically inclined, this isn’t an expert’s opinion or analysis, just a listener’s thoughts.
A bit of background of me before we start, I grew up around hip hop when I was young so I can really appreciate Knuckles’ soundtrack probably more so than a lot of other people.
Ever since I was a kid, Knuckles has always been my favorite character, I always found his complicated friendship and rivalry with Sonic to me a much more interesting dichotomy than Sonic and Shadow (I know, fight me).
That and I’ve always just adored his character (Before they forgot how to write him) he can be hot headed and stubborn like Sonic, but he’s got a bit of a Yin and Yang thing going on, with his Chill nature conflicting with his Quick and Explosive temper, as well as his questioning of his purpose in life and duty to the Master Emerald.
Anyway, enough context on myself, let’s strap in and get to the meat of this veeeeeery long post (My bad guys).

BACKGROUND

So for starters, I think it’s best we talk about the style and influences that are quite evident in Knuckles’ Music, that being Hip Hop/Rap, but it goes a bit further than that.
For some historical context, Sonic Adventure 2 came out in 2001, I’m not sure how many hip hop fans hang around the subreddit but by 2001 the Golden Age of Hip Hop had been firmly left behind. Biggie and Pac had been dead for a while, and the stars of yesteryear began to fizzle out as the young blood cropped up onto the scene.
The early 2000s Hip Hop scene was mainly dominated by the East Coast and the Dirty South, lots of stars of this generation of rap included 50 Cent, Ja Rule, Outkast, Ludacris, The Game, Three 6 Mafia and Xzibit, but you also had older legends like Nas and Snoop Dogg who were still culturally relevant.
This modern sound of hip hop differed greatly in sound to the early 90s, everything was a lot more clean and refined, samples were still used but weren’t as common as before and the West Coast sound that characterized the early 90s had been long gone.
It’s important to bring this up, because comparing SA2’s Hip Hop tracks to the climate it was released in, they sound almost out of place. Listening to Get Rich or Die Trying, or Stillmatic and then listening to SA3’s tracks you’d be convinced they were separated by many years.
The Tracks in SA2 are definitely rooted in early 90s hip hop, it’s very clear that those early Gangsta Rap albums like Straight Outta Compton and Black Sunday greatly influenced this part of the soundtrack. And you don’t have to take my word for it, go and listen to the instrumentals of songs like Express Yourself or Insane in the Brain and tell me that they’d sound out of place playing in one of Knuckles’ Stages.
Early 90s Hip Hop makes heavy use of sampling, primarily of the work of Black Artists of the past two decades, because of SA2K’s early 90s hip hop influences, it too has a lot of roots in 70s/80s Black music. Elements of Soul, Funk and Jazz are commonly heard in Knuckles’ Stages, think James Brown or Isaac Hayes.
So what Groups or Artists seem to inspire SA2K’s sound? Well the obvious choice is NWA, though specifically Straight Outta Compton, Elif4zaggin has a much different sound. However I don’t believe that’s entirely the case.
Whether it’s pure coincidence or intentional, Too Short (stylized as Too $hort) was a decently popular artist from Oakland, which is up in the Bay Area of NorCal which is the main inspiration for most of SA2’s urban environments.
Anyway, Too Short was actually quite a pioneer in Hip Hop as he formed the Dangerous Crew, a Hip Hop Band who played actual instruments instead of using samples, it’s because of this that I believe Too Short and the Dangerous Crew to be the main inspiration of SA2K’s sound whether intentional or not, not only are the two defined by their funky beats, but also their use of live instruments. I recommend listening to songs like The Ghetto, Sample The Funk and Just Another Day to get an idea of how his music influences SA2K.

UNKNOWN FROM M.E. (REMIX)

Honestly I find this track to be an improvement over the original, it definitely leans a lot more into the R&B aspect over the rest of the soundtrack but it’s still distinctly hip hop with the record scratches, drums and Hunnid-P rapping over it.
Speaking of, let’s address the Elephant in the room briefly. I know Hunnid-P or Hunnid-Pacent isn’t everybody’s favorite person on this sub, either on the track or behind the scenes, and while his antics aren’t relevant to this post, I don’t necessarily agree that he’s as bad as people say he is on the mic. Is he the world’s greatest emcee? Absolutely not, but he does his job pretty well, he has good flow and a pretty good voice. I think people clown on his lyrics too much, I’m not saying he’s an Inspectah Deck level lyricist but I think the guy has dropped a few bombs and this OST has some gems, but we’ll get into this in a bit.
Getting back to the song, the content of the lyrics is basically Knuckles’ inner voice, this is basically the entire soundtrack, though Unknown From M.E. is more of a general character overview of Knuckles, its standard stuff now but at the time it was a pretty deep dive into the character of Knuckles’ in a decently subtle way.
Most of the song centers around Knuckles’ self imposed isolation on Angel Island, his duty to his people and the world to protect the Master Emerald, but also him yearning for something more and the inner conflict that stems from that.
This song actually has some underrated lines, some standout lyrics include:
“Clench my fists tight, become more redder - I don't wanna hurt her, my passion observed”
The last line is in obvious reference to Rouge and an interesting insight into Knuckles himself. He clearly doesn’t like violence and isn’t interested in hurting anybody, but his duty as a guardian and his quick temper often means he can get a bit too carried away as the line implies, good stuff.
“Been lonely all my life, does it matter? - Here for the mission, whoever want, it bring it”
Here we can clearly see Knuckles trying to reason with himself here, specifically after meeting Sonic and experiencing a life that isn’t just his duty. Here we see the Guardian side of him, he’s always been alone and it’s never been problem before, why should it be now? At least that’s what he tries to tell himself.
“Don't approve of him but gotta trust him - This alliance has a purpose - This partnership is only temporary”
I’ll get more into this when we get to Death Chamber, but these lines are obviously alluding to Sonic and the plot of the game. It’s clear that Knuckles still doesn’t completely like Sonic, however the key here is that he trusts him, he’s gotten to a point now where he knows Sonic is well meaning and their goals align. However, just like real people, he’s accepted the arrangement but he doesn’t have to like it, he still believes Sonic is brash, arrogant and takes far too many risks, it will take more than a few adventures for Knuckles to fully change his opinion on Sonic.
Hunnid-P and Marlon Saunders do a great job of bouncing off each other on this song, their voices and cadences clash with each other nicely almost like how Knuckles’ inner turmoil is split in two.
The beat is tantalizingly funky, for starters that bass line is smooth as butter and the song has a nice tempo, you get the occasional organ flourish and guitar riff that crescendo and just help to enhance the song even further. Overall a really solid track in my opinion, the content of the lyrics is interesting and the delivery is great, all over an extremely funky instrumental.

KICK THE ROCK - WILD CANYON

Probably my favorite song out of all Knuckles’ Stages, this one is definitely the most Jazzy and parallels nicely with Rouge, but has a distinctly Knuckles Twist.
That Sax and Organ combo just cause an absolute eargasm and those drums form such a nice tempo that makes this track such easy listening. Honestly there’s not a whole lot going on with this track and that is not a bad thing at all. Its simplicity is probably its biggest strength and is quite noticeable compared to something like Unknown From M.E.
Some Lyrics I found particularly interesting are:
“I'm feelin her in mysterious ways - That's why I stay on point like every single day - I gotta protect this place, I do it for my race”
Yeah yeah I know everybody finds this line and the play doh line inappropriate and funny, I understand the latter but honestly I could never get the outcry over this one
“I’m feelin her in mysterious ways” honestly, in my opinion, it’s not what you think. I’ve never really seen it as a sexual line “I’m feelin you” is basically another way of saying I get you, it’s basically Knuckles saying he gets Rouge, but he doesn’t know why and that kinda bothers him.
The context matters here and the lines after do give my interpretation some weight. It’s basically Knuckles saying to himself “I get this girl and I kinda mess with her, but I gotta job to do” Knuckles is intrigued by Rouge, he’s never met anybody like her and he obviously has some feeling towards her, though because of his lack of interaction with others he struggles to understand these feelings and instead of addressing them, he tries to ignore them and remain true to his job as Guardian
“Who could'a did this, that snitch named Rouge! - When I catch her, I'ma get her with these tools”
More obvious than the last one, but it still shows that Knuckles, despite his various different feelings toward Rouge, knows he has a job to do and tries to center himself to stay committed
Honestly it’s hard to choose between this or Unknown From M.E. as my favorite Knuckles track but either way its up there and definitely something I can bop to on the regular

A GHOST’S PUMPKIN SOUP - PUMPKIN HILL

The one everybody knows and honestly I get it, it’s got that smooth piano/guitar I can’t really tell what it is but it definitely slaps. It has that distinct G-Funk whistle which pops up occasionally across SA2K that simulates that stereotypically ghostly sound nicely
It’s definitely in contention with Deeper for the most lowkey Knuckles track and that’s saying something.
Not much content lyrically, but I managed to find a few interesting lines:
“I ain’t gonna let it get to me, I’m just gon creep - Down in Pumpkin Hill I gots to find my lost piece”
Something we don’t actually see a lot from Knuckles, fear! Most of this song is about Knuckles’ fearlessness being tested, if you view this as Knuckles’ internal monologue (Which if you don’t at this point then I’ve been doing something wrong 😂) its less about the song telling us how tough Knuckles is, but Knuckles reassuring himself that he can do this.
He’s obviously trepidatious over being in Pumpkin Hill and he has to take a moment to center himself and reassure himself that “I’m Knuckles, I’m not afraid of anything” again this goes back to how Knuckles uses his job as Guardian and his duty to motivate himself and push forward through situations, regardless of his own fear.
“I’m hearing someone saying “You a chicken, don’t be scared!” - It had to be the wind, cause nobody wasn’t there”
Considering the haunted theming of this level, this very clearly (on the surface) seems to be Knuckles encountering a ghost taunting him, but I might present another angle.
This is just Knuckles’ inner thoughts again, though this time its doubt, he doesn’t believe he can find the pieces of the Master Emerald and he doesn’t think he can make it through Pumpkin Hill, yet he pushes through anyway. This one’s kinda far fetched but it’s a nice idea
I don’t adore this track as much as a lot of other people (ironically) but I can still Jive with it.

DIVE INTO THE MELLOW - AQUATIC MINE

First of all, this track does a great job at just sounding watery, the filtered organ and the echoey bass just make it sound like cave ambience turned into music
Most of this track’s lyrics center around Knuckles’ yearning to be something more than just the Guardian of the Master Emerald and to be his own individual, these are:
“Makes you wanna sit back, enjoy the life - And do things you like doing, get to shine”
Knuckles, if it wasn’t for all the enemies and hazards, obviously enjoys being in Aquatic Mine, so much so that it brings his thoughts of a better life to the front of his mind.
This shows what Knuckles really wants, to be unburdened from the Master Emerald and to just be free to kick it wherever, in a way he’s jealous of the freedom Sonic has and wishes he wasn’t tied down to Angel Island.
“I stay Knuckled up, I’m in a deep cut”
Knuckles, despite his ideals of peace and relaxation is always ready to do what he believes is right, again this whole OST is basically Knuckles reconciling his wants and his duties.
Again Knuckles isn’t really equipped to deal with these feelings and instead of addressing them, he pushes them down and buries them under his duty and tries to keep himself busy, though once he gets to Aquatic Mine where he’s forced to slow down and explore methodically, he’s suddenly unable to distract himself from his true feelings.
“In a maze, and I don't know what to do Guaranteed though, imma find the Emeralds”
Again an obvious allusion to the labyrinthine Aquatic Mine on the surface, though I believe this too has a deeper meaning.
Knuckles is lost and confused emotionally, he’s confronted by these different feelings that conflict with everything he’s ever known. His thoughts on freedom and his feelings for Rouge which he doesn’t quite understand both conflict with his role as Guardian and he can’t reconcile them.
“I don’t know what to do” in a rare moment of vulnerability, Knuckles admits that he has no idea how to manage these feelings and he’s grappling with the monumental task of managing his panicked thoughts.
Then, just as you think Knuckles is gonna start making a breakthrough, what does he do? “Guaranteed though, imma find the Emeralds” That’s right, instead of finally addressing his swirling thoughts, he pushes them down and once again distracts himself with his duty.
Honestly, like Pumpkin Hill, I know it’s a reach but it tracks with what we know Knuckles’ character has been up to this point and it gives him insane depth and really humanizes him.
A funky beat, a nice flow from Hunnid P and some really humanizing characterization of Knuckles, Dive Into The Mellow is definitely a hidden gem of the OST.

DEEPER - DEATH CHAMBER

Sooooooo chill, honestly this song is so calm and smooth, it’s so underrated on this soundtrack it really is another hidden gem like Dive Into the Mellow.
First off I absolutely adore the bass this track has, it sounds like it’s been bit compressed for a Gameboy and honestly I’m all here for it, gives it a nice techno Eggmany twist. The funky guitar and sax just enhances the mood, the song sounds almost echoey like you’re actually standing in a Death Chamber.
Lyrically this song is unique in that it’s basically just a long conversation between Sonic and Knuckles instead of Knuckles’ inner thoughts/monologue.
It’s an interesting dynamic where Sonic is actually the reasonable one, willing to put aside his and Knuckles’ differences aside for the greater good. Knuckles however is initially a bit more standoffish, but Sonic talks him into it by appealing to his guardian nature and calling him out on his stubbornness, basically forcing Knuckles to admit that Sonic is right and that they’ll be much better off working together.
Honestly not much to say, it’s pretty much all spelled out in the song, but interesting nonetheless. An understated and uniquely funky beat make this track stand out among the others nicely, definitely a great listen.

SPACE TRIP STEPS - METEOR HERD

Finally, the last song. In my opinion, Space Trip Steps is probably the weakest track musically. That doesn’t make it bad, far from it, I just can’t groove with it as easily as the others
This song takes a lot more inspirations from G-Funk than the other tracks which does give it quite a unique sound amongst the soundtrack, it wouldn’t sound out of place on The Chronic or Regulate… G Funk Era. The wavy synths and sharp base with the fast tempo give it an almost garage feel too, definitely not a sound for everyone but I think it does a good job at sounding very ethereal and space like
As for lyrics, this seems to be a turning point for Knuckles as a loner:
“Took a shuttle to space and left from our homes At least we're with friends and I'm not all alone”
Knuckles is in a completely foreign environment and feels completely out of his depth, however he feels comforted by the fact that he’s surrounded by the people he’s finally started to call his Friends, the first time he’s admitted such.
He’s forced now to acknowledge that he can’t do everything by himself, and that asking for help from his friends doesn’t make him any less of a man, he finally accepts that he can trust outsiders, but he still has a ways to go.
“Bad thing was that the Emeralds spilled - Gotta search space, man, time to get ill”
Still, Knuckles is bound and almost blinded by his duty, forcing himself to abandon his friends to search for the Master Emerald pieces that were scattered in space.
It’s clear now that Knuckles isn’t too happy to leave his friends, but as we’ve come to know him, he does the typical Knuckles thing of pushing his feelings to the side in the face of doing what he believes is right. This just tells us Knuckles still has a lot to work on before he can really come to terms with who he is.
Again, a pretty unconventional track so it can be an awkward listen and definitely not my favorite on the list, but it does something unique which I can definitely give it props for, Hunnid P even has a completely different flow, dragging out his words like he’s getting further away, hammering home that space theme.

CONCLUSION

And that’s it, if you made it this far through my long winded ramblings, then I’m extremely impressed 😂 I tried to trim the fat as best I could but I ended up getting a bit too attached to most of what I wrote
Honestly I feel like these songs have been unfairly painted as the silly crappy Knuckles rap songs with bad lyrics that are only good because of their instrumentals, and I just can’t agree with that.
I feel like in a lot of ways these songs do a much better job of characterizing Knuckles than SA1 or SA2, I really wish we got see more of his inner turmoil and him butting heads with Sonic in the game itself.
I think it’s a sad thought that for a long time, Knuckles has been a shadow of his former self (Har har) and has just been relegated to the token meathead that’s about as one dimensional as a square. Frontiers is definitely a step in the right direction and I’m excited to see what the new writing team can cook up with for his character.
But what are your thoughts though? Do you agree? Disagree? Did I manage to change your mind or have you always felt this way? Maybe you have a different take or something else to add? I’d love to hear it.
ML