Tac reload animation for AK is exist in the official EFT video.
Compare to other games, it can be implement for good ways.
Like execute it by specific gear, and mags.
It's not in the game, but it might be the magazine and mag pouch reference action.
If battle belt added to the game, mags in the belt reload faster is also realistic.
Tac reload is not just tacticool animation from MW19, it used by real gunfighters.
When they have to, they execute speed reload...I mean Emergency weapon reload in this game.
When they want to, they do Tactical reload.
The normal reload in this game is Reload with retention, used mag stow first, then grab the fresh mag.
Tac reload I mentioned here are grab the fresh mag first, swap with used mag, and stow the used mag.
(Correct me if I'm wrong, because both are called tactical reload...)
Almost every single video from yuutube, they doing the tac reload.
It makes sense, because inserting the fresh mag is actually faster.(if you trained well)
Tac reload might be faster than normal reload but not faster than emergency reload.
Grab the fresh magazine first, swap the mags, then stow the used mag.
You don't have to worry about dropping the mag, because you grab the new mag first, so there is a space for used mag.
Before you stow the mag, guns loaded with fresh mag, so it's already can fire continuous.
Ground Branch already has this mechanics I guess.
There normal reload is already Tac reload.
But in this game, we still can't shoot while using keys, so i don't know BSG can implement it when tac reload comes.
I don't want to see tac reload with huge drum mags...It's almost impossible.( or doing tac reloads with drum mag cause slow the action will be good)
It definitely need it, because player characters are ex military PMCs.
Normal scav and Player scav can be stay current reload, but after scav level implemented, I don't know.
It can be replace some guns and some magazines normal reload...AR-15's 30 round P-mag, or Glock's 17 round mags...
Or add tac reload for new keys(it will be complex, I know)
Or, mouse scrolling reload is tac reload...is also good.
And more new reload mechanics, like shotguns, SKS and Mosins.
Speed loader or quad reload mechanics for shotguns, Stripper clips for SKS and Mosins.
Also speed loaders for magazines for loading ammo faster.
Shotguns reload mechanics might be add for skill progress, and specific gear needed?
We already seen stripper clips in some video, so it might be come to the game...soon?
And adding Dump pouch for normal reload.
Not just for the prevent dropping mag problem.(well it actually is)
I want this game more realistic, fun, and more gun porn.
More weapon animation is make this game more attractive I guess.
Don't get me wrong, I know BUG FIXES ARE THE MOST IMPORTANT THING RIGHT NOW.
It's not needed right now thing, what I'm saying is it can be added later.
I suggesting for the future, or soon.

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My wife expected me to hate The Devil Wears Prada but after watching it I absolutely loved it. I think I took the completely wrong message from it though, making me very confused about why people like/dislike it.
To me, we see multiple characters on 'the ladder' attempting to climb higher. Andy starts off as a nice girl who prioritizes her personal life over her career, and then begins to take traits off Miranda as she attempts to further her career. She begins to prioritize learning the business of fashion and sacrifices her personal life. I noticed that the people that seem to be closer to Miranda seem to emulate her. Andy sacrifices her ideals and her morals because 'Everybody wants to be one of us' (and 'millions would kill for this job') much like how Patrick Bateman 'wants to fit in'. When Andy suggests that Miranda take 'personal time' immediately after the divorce, she replies with 'why?', as if the entire concept of personal time stops meaning anything when your identity becomes one with a corporation.
This reminded me of the theming in American Psycho where every single banking associate seems like they are effectively just copies of Jamie Dimon. They get closer and closer to this image of a "perfect investment banker' as they lose more and more of their 'personal selves'. Patrick Bateman was running around as an axe murderer outside of work, but why would coworkers give a shit what happens in life outside of Investment Banking? It literally doesn't exist to them.
Both movies also touch on the fact that this relationship of 'man becoming corporation' is a one way street. The corporation views you as completely disposable. Once you fully transition from 'man' to 'corporation', and the 'corporation' cuts you off, there is literally nothing left. There is no human left to be 'laying off'.
My wife does not agree with this theming and thinks I am being nutty. I feel like the differences between investment banking and fashion are almost unimportant here. In my mind the theme is completely based around sacrificing ones humanity (and personal relationships) for success within corporatism. She (rightfully) points out that this film is based on a book (which is actually based on real people within the fashion industry), but I don't know if this necessarily disproves my point. The movies show similar individuals at different phases of this transition IMO; with Andy ultimately deciding not to destroy her 'personal' self before it is gone entirely.
I just do not see that many differences between the Investment Bankers of NYC losing their humanity as they climb the ladder and the fashion moguls doing the same thing. I loved this movie. Am I looking too much into this? The film seems like it follows this theming beautifully but now I feel crazy lmao.
The other thing that struck me was the parallel between the young girls I have met clearly attempting to be Miranda Priestly despite the warnings of this movie, similarly to how many young boys seem to be attempting to pull a Patrick Bateman lmao.

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For a little background: I'm not a VFX person, but I do know a bit about the insane process regarding clients and vendors and... all that. My heart goes out to every single artist in that pipeline who has to deal with seemingly arbitrary changes only for the work to get torn apart by people who don't understand it when it comes out.
So, for professionals who know the tools, who probably have some idea of what goes on behind-the-scenes in the shows, can probably, even if they didn't directly work on the show, hazard a guess as to reasons for things (and whom DEFINITELY have more of an ability to see those things than I could) -- I have a couple of questions concerning the Marvel series She-Hulk: Attorney at Law, from 2022.
I know they used something like four different vendors to bring to life the She-Hulk character assets; even before the VFX breakdowns were posted online, somebody in the know pointed out to me which ones Weta did, for example. I know the methods of motion/performance capture for the character differed between inertial and (I can't remember the other one's name, please forgive me), sometimes between sequence to sequence, whether exterior or interior. I know they had a stand-in whose work, despite what was said in the press, was apparently deemed unusable by the actual animators as reference once it got to that point, and I know at least one VFX source complained the main show director wasn't listening to the on-set VFX supe in how best to create an effect, etc.; said VFX supe won an Oscar for Dune.
Having said those things, the quality is remarkably high, although the most criticised VFX work was done by Digital Domain and TRIXTR on the show -- the Weta sequences (despite my source telling me they were brought on to one sequence almost at the last minute as added work) were generally the highest-quality, had the best facial animation capture, skin texture, etc. (From what I could see, Digital Domain's best sequence was the one in the retreat episode.) I know assets were shared -- I also know DD had a harder time trying to keep up with the main actress's performance than Weta did, as it's a bit more complex than their previous gold-stand of Josh Brolin's Thanos.
Would big differences be down to clients jerking vendors around to an extent that one sequence by one vendor doesn' match another vendor's, or is it down to the tech used? Do you feel actors in mocap are generally as informed as they should be about how best to perform in motion/performance-capture settings? And, this seems to be a common thing, why shave down the motions and energy of a mocap actor's performance in post, when they could just as easily tell the actor to dial it down before filming and thus not have to adjust movements so much even as opposed to the size of the assets they're being transferred to?
Is there something that could be done to make the process a bit smoother? (Yes, pre-planning is a no-brainer.) Do VFX supes need more control over their sets on shows, in order to keep down costs and raise the standard of excellence? Do actors need to be told a bit more on how animators actually modify their performances, and how they can best work with that knowledge?
I know it's a lot all tumbling out, but it's just a bunch of questions and thoughts that have been on my mind. I felt only a bunch of experts in the art could inform me of any possible answers. :-) I'm just gonna listen to y'all with open ears.

https://libriincogniti.wordpress.com/2021/02/25/kommunistisches-programm-national-revolution-and-downfall-of-cambodia/

The Events after the Fall of Phnom Penh and the Programme of Khieu Samphan, the Peasantry and the Enablers of Capital
With the end of the Indochina war in 1975, not much remained of Cambodia’s economy either. More than half of the rice fields lay fallow, and the few industrial enterprises, the port facilities in Kampong Som, the railway lines and the bridges had been destroyed by US bombs. Although the figures are not unambiguous, their magnitude alone shows what heavy blood sacrifice imperialism also demanded of this people: In the five years of war, around 800,000 people were killed, more than 40,000 were maimed, almost 200,000 were wounded.
The constant flow of refugees inflated the capital from its original population of around 600,000 to over 3 million, meaning that by the end of the war almost half of the Khmer people were crammed into their metropolis. As is well known, the imperialist world press howled in horror and disgust when it learned of the forced exodus of this human aggregation. The US bombardment drove people from the countryside into the cities – the revolutionary nationalists had to force them back. Both actions were cruel and devastating for those affected, because both times they happened under terrible conditions, the first time under the imperialist hail of bombs and the coercion of its local police, the second time under the pressure of hunger and the state coercion of the newly installed revolutionary patriotic power. But for the imperialist propaganda machine there were no connections here. Of course, it only saw the terror of the Khmer Rouge, so supposedly of Communism. Here again was a wonderful opportunity to play out the bourgeois farce of humanism and love of one’s neighbour to the full. No mention of the mass murders in the imperialist war against the Southeast Asian peoples, no mention of the unspeakable destruction of these only weakly industrialised agrarian societies. These sacrifices were noticed at most when the insane war spending of the USA threatened to drag the entire imperialist West into the vortex of economic problems as a result of the currency crises caused by it. After all, to this day, these gentlemen are consistently proud of their efforts to preserve “freedom”.
Cambodia became the main object of these friends of mankind over the next few years. Here, indeed, all cherished values and conceptions were thrown overboard. A state without money, without postal services, without cars and motorbikes, without public transport, without telephones, television, books and the cities extinct. Only “communists” could have committed this crime; as is well known, they can be trusted with anything inhumane and in Cambodia they truly acted as the incarnation of “darkness” and “evil”. What was perpetrated before in the name of the heroes of “light” and “reason” – not a word about that, of course. It was a central organ of the imperialist offensive on the human intellect – Reader’s Digest – that first announced in 1977 that at least 1.2 million people had been murdered in the two years since the fall of Phnom Penh. Ever new figures were quickly added, which journalists claimed to have learned from the numerous refugees. It is not necessary to assume that all these reports were forgeries, because in fact the Khmer Rouge set an extremely radical course from the beginning, which certainly brought much horror, misery and also deaths. But today’s sated imperialists should perhaps sometimes look at the history books: What misery, what terror, what torment against the population is archived there – and that over centuries. The French Revolution also produced at least 100,000 deaths in the most important four years – and it did so with a machine specially designed for the purpose. It was not by chance that it was the steam engine and the guillotine that inaugurated the industrial age in a revolutionary way. But do the distinguished British gentlemen, who even then scoffed at these butchers in Paris, have fewer lives on their consciences? Those who still don’t know have to have it written on their cheat sheets all the time: The establishment of bourgeois rule has always been brutal and extremely bloody. The destruction of the traditional smallholder form of economy, the annihilation of small-scale trade and crafts always passed over those affected like a merciless steamroller. And under unspeakable tortures, the majority of these people who were expropriated without compensation were pressed into the factories and, if necessary, forced by brutal violence to slave as many hours of their day as possible for the lowest possible wages. All that was not so long ago. But it is always amusing how hastily today’s representatives of capital pretend that these are youthful sins of foreign predecessors. And this process of constant dressing for factory labour, of the destruction of both man and nature, continues both in depth and in breadth. It will only come to an end when this capitalist basis has been revolutionarily annihilated because of the contradictions it constantly produces.
...
However, if one wants to understand the “mysterious” processes in Cambodia, one has to be clear above all about the material and social conditions. A devastated country that was still largely worked by small peasants; a chaotically bloated capital city to which the majority of these same peasants had fled. The terror of the bombs had charged this population, once peaceful and living in the eternal grind of farm labour, with fear, but above all with unbridled rage and blind hatred. Hatred against the city in which they had to take refuge, anger against the American bombers which destroyed their existence, but particularly anger against their own corrupt aristocracy, the military as well as the city dwellers in general who sought to prolong their raison d’être by making a pact with imperialism. Now the old mixture of foreignness, subservient spirit and unease found its general discharge in a primal hatred of the rural population for their oppressors in the cities. A frenzy of revenge arose, which certainly accounted for most of the brutalities in the first year of liberation.
In order to understand this social side of this revolution in Cambodia, which gave it the ferocious expression of blood, revenge and chaos that one encounters in practically every revolution carried out mainly by peasants, one must always bear in mind the social structure already described. The strong urban-rural divide was not between agriculture and industry – the latter was practically non-existent – but it was the extreme contrast between agriculture and all the ominous trades that bourgeois statistics usually classify under the heading of “services”. Here, actually “unproductive” administration and trade – moreover, predominantly created and nourished in the service of imperialism – and “productive” agriculture faced each other. Of the “peace population” in Phnom Penh of about 600,000, this included about 200,000 Vietnamese and over 100,000 Chinese, out of a total of about 800,000. So the Cambodians did not even make up the majority of the population in their capital. Aristocracy and officials on one side, poor peasants on the other, too poor to make a living in the countryside, coming to the city because they hoped for a job, or later bombed into it. Cambodians were almost completely excluded from the trade and merchant sectors. These sectors were mainly in the hands of the Chinese and Vietnamese.
In this approaching whirlwind of social unrest on the part of the peasants, which is growing in strength, another social force tries for its survival. Young intellectuals, most of them educated in Paris, the educational centre of the former colonial ruler, want to break the corrupt tangle of local aristocracy and foreign power by force. Without any reservoir in the own ranks of the urban bourgeoisie, for the latter is practically non-existent and if it is, then hardly to be enthused for nationalist accumulation programmes with a more rigorous cut; without a proper bourgeois class, these petty-bourgeois radicals lead a practically hopeless struggle for change. Forced very soon into the rural underground by Sihanouk’s authoritarian regime, they try to implement their programme of industrialisation based on agriculture with the help of the only social class that counts – namely the rural population, the small peasants and farm workers.
...
One simply has to quote these illuminating passages of the Khmer Rouge’s “chief ideologist” at length, because after all the imperialist wailing, one probably does not think it possible that these “monsters” can think at all. (A Trotskyist group, persistent in its obtuseness, even opined that these “monsters” were the embodiment of… a return to feudalism!) One thing is immediately quite clear: these petty-bourgeois intellectuals, widely referred to as Marxists, communists, etc., are never ever in the tradition of the “German” Karl Marx, but of the German Friedrich List, who, under the slogan “Freedom is the goal, limitation is the necessity”, set his protectionist credo against the imperialist ideology of the free traders in the last century. The Khmer Rouge leaders are thus spiritual sons of the ancestors of today’s imperialists, those imperialists who now see in them the personified devil of communism, although they only wanted to be flesh of their flesh.
These views of Samphan and thus the leaders of the Khmer Rouge were also quoted at length because they are so popular today. In the face of the growing exploitation of the countries of the so-called Third World by Western imperialism, theories are emerging everywhere that vehemently propose the same position of “cutting off” the “underdeveloped” countries from the dominance of the world market ruled by Western capital as a panacea. And it is certainly no coincidence that one of the main representatives of these academic “revolutionaries”, the Egyptian Samir Amin, raves about the radicalism of the Khmer Rouge even after their expulsion and predicts a chain of new “Kampucheas” for the African future. Against the massive reality of the increasing internationalisation of capital and the growing global control of Western and increasingly Eastern imperialism, such “progressive” petty-bourgeois theorists place their faith in autarky, national accumulation and so-called autocentric development. Against the capitalist propaganda of progress and prosperity through freedom of trade and capital investment, which in reality in fact produces nothing but growing pauperisation and exploitation, the Good News on the other side says: Only if one can free oneself from imperialism at least for as long as it takes to be able to develop one’s productive forces independently, only then will one achieve prosperity and security for humanity.
In this respect, both sides represent only two sides of the same coin. Both claim to be able to achieve “the greatest happiness for the greatest number” within the framework of and through capitalism – as the forefather of these bourgeois tendencies, Adam Smith, already formulated this elementary lie of capital.
...
The utopians of capital have to acknowledge time and again that, contrary to their proclamations, the social antagonisms both within the “developed” and “underdeveloped” countries and between these countries are becoming increasingly acute. And while capitalism is pushing the development of the productive forces ever more sharply in order to satisfy its insatiable hunger for surplus value, it is precisely because of this highly productive technology that it is less and less able to transform the pauperised masses into active proletarians, i.e. to force them to the machines or into the office. While the imperialists, in their frenzied mania for surplus value, are at least throwing the whole world into growing unrest and undermining ancestral immobile relations ever more thoroughly, the heralds of an apparently radical autarky are causing nothing but confusion in the ranks of the pauperising masses. They talk of economic independence, stable economic cycles and adapted technology – all concepts that really bring out their illusionist anachronism.
And to see Cambodia of all places as a concrete approach or even an example for the feasibility of such utopias seems almost tragicomic in view of the results that are now available. But it is also a total misreading of the factual development under the Pol Pot government. Demonisation and idealisation of the Khmer Rouge have the same basis. They assume that the measures taken after the conquest of power in Cambodia were deliberate and planned. One side sees only the terror and coercive measures with which the leaders, supported by relatively small armed forces, tried to get a grip on a witch’s cauldron of panic and violence and to escape the total catastrophe of starvation – and the chaos that would ensue in turn. They see this terror and these coercive measures as completely detached from the economic and social emergency. The others confuse the factual state of extreme social backwardness in Cambodia and the emergency measures taken with an economic and social programme.
...
We have outlined the devastating situation in Cambodia shortly before the moment of liberation. However broad and deep the peasant unrest in the countryside may have been at the time, it must be remembered that a large proportion of these peasants stayed in the capital out of necessity during the main phase of the fighting. In any case, the Khmer Rouge, hardly more than 70,000 men anyway, fought for a long time mainly in the sparsely populated outskirts of Cambodia.
When the Khmer Rouge troops approached the capital in 1975 – likely with only about 20,000 men – it soon became clear that it was imperative to deal radically with this hopelessly bloated big head. Estimates vary, but it can be assumed that of the 7-8 million Cambodians, at least 2.5, but probably over 3 million were crammed into the capital (“peace population” as mentioned 600,000). With the severing of the umbilical cord to imperialism, Phnom Penh was up in the air as its former bridgehead. There was no possibility whatsoever to control or even feed this veritable hell of collaborators and starving refugee masses. The general shortage of rice had driven prices to dizzying heights: from 10 riel per kilo in December 1971 to 125 riel in December 1973 and on to 300 riel in early 1975, reaching a record 340 riel in mid-February. The retreat of the imperialists and the advance of the Khmer Rouge must have acted as a double signal: On the one hand, to storm against the hated parasites and the urbanites in general, on the other hand, to return to the countryside in chaos. The Khmer Rouge had to evacuate the city and channel the returning flow to avoid a total catastrophe. The fact that the displaced people left a wide trail of blood behind them on their way out of the city (for the time of the Khmer Rouge government, there is consistent talk of at least 1 million deaths) was unavoidable under the given conditions. It is significant that the majority of the massacres affected the urban population and certain national minorities: precisely intellectuals, military officers of the old Lon Nol regime, Sihanoukists, capitalists, merchants etc., and apart from the Cham (Muslims) almost exclusively the Vietnamese and Chinese minorities, whose social situation we have already pointed out.
Whether it was spontaneous peasant terror or executions organised by the Khmer Rouge, it was partly revolutionary violence against the supporters of the old regime, which as such does not speak against but for the Khmer Rouge, and partly pogroms, which the leaders at most accepted and tried to direct in the interests of the state monopoly on the use of force. But it is not so important whether the Khmer Rouge leaders had to accept or order these massacres. What is decisive is that they were forced by material development to eliminate or to have eliminated precisely those strata on which they wanted to rely. This, together with the evacuation of the cities, deprived them of any social support other than the peasantry. Thus they were at the mercy of this peasantry, which had to be disciplined for the actualisation of their “programme”. The conflict with it was therefore programmed for the time after the famine had been averted.
...
After the worst of the chaos had been overcome, it was attempted to use these structures, which had prevailed in a rather primitive way during the hunger phase, for one’s “industrialisation programme” by maintaining and further intensifying collectivisation. Necessity was to become a capitalist virtue. The complete lack of such “civilisational” achievements as the intercourse of money and commodities was supposed to make for an ideal, indeed classic, “truck system”, i.e. payment in kind alone. The peasants were forced into ever new production battles, because now surpluses were to be produced for export – i.e. for exchange with foreign means of production – which indeed happened and animated the leaders even further. The general command was under the iron slogan: “Work hard and try to achieve maximum results with a minimum of investment”, and the focus was on absolute labour effort.
...
Once a sufficient level of production had been restored, however, the whole construction was bound to collapse completely sooner rather than later. Anyone who has even a pale inkling of the travails of the infamous Stalinist collectivisation in Russia – and the Russian state was on an incomparably higher social level and had quite different means of power at its disposal – can easily imagine how the intellectual would-be enablers of capitalism in Cambodia, then practically hanging in the air, would have to perish in an orgy of violence – unless, with the help of a foreign power, they could get a grip on the chaos and create more stable conditions through a series of concessions to the peasantry. Most likely, however, they would be finished even then, like a man trying to hold on as long as possible to a wildly thrashing bull and then falling to the ground exhausted. In any case, the arena crowd was already eagerly awaiting the outcome of the tragedy.
...
Sovereignty, neutrality, non-alignment – this credo runs through all declarations as a complement to “autarky”. But already in the face of the first offensive by the Vietnamese, it must have slowly become clear to the Khmer Rouge leaders that these fine words could only have one meaning in our unpleasant world, namely to place themselves under the protection of the People’s Republic of China. In Pol Pot’s interview, which we have just quoted, a strange acronym appears: CPK. This means “Communist Party of Kampuchea”. And yet, to the boundless amazement of bourgeois commentators, the Khmer Rouge had never tried to dress up their declarations or their constitution with Marxist or pseudo-Marxist vocabulary – which is certainly very sympathetic to us. On the contrary, they have displayed an obvious and pedantic aversion to these concepts. Neither “vanguard of the proletariat” or “communist party” nor “proletarian internationalism”, neither “classless society” nor “dictatorship of the proletariat”, but also not “new democratic revolution”, “mass line”, “creation of a new man”, “peaceful coexistence” etc. etc. had ever been spoken of. If similar contents had to be expressed, they were paraphrased with other words. But this did not happen because the Pol Pot folks would have been particularly honest and wanted to do us Marxists a favour. This happened because in their dogged nationalism they wanted to distance themselves clearly from their neighbours Vietnam, but also China, who professed to be “socialist”. The national character of all these revolutions and states, the national character of their confrontations and of their whole politics is expressed even in the fact that the weakest link feels compelled by the instinct of self-preservation to dispense with the “Marxist” or “socialist” cloak for the capitalist programme! This is what “socialism in one country” has come to! And the adoption of the “Marxist” “vocabulary” here is a sign of the surrender of the so sacred national sovereignty. If, as already mentioned, no announcement had ever mentioned a party or revolutionary phases (there was always talk of a “revolutionary organisation” and even of “Angkor traditions”), Pol Pot told his astonished people and all those who wanted to know the following story on 27 September 1977: the CPK had already existed in Cambodia since 30 September 1960 and had achieved this miracle of a national-democratic revolution. He told it the day before he left for Beijing, on which, fighting a losing battle against the Vietnamese, he has been completely dependent ever since.
As a “plaything of foreign powers”, the nationalist intellectuals of Cambodia perished. The peasantry, largely decimated under the pressure of the imperialist frenzy and its consequences, as now under the pressure of Vietnam’s national expansion, is an example of the fate that capitalist society reserves for small and weak peoples in its emergence and development. To such peoples the proletariat alone would and will secure the right of self-determination, because unlike the bourgeoisie it does not seek national privileges but wants to abolish them, because unlike the bourgeoisie it can create voluntary union, because unlike the bourgeoisie it liberates itself not by exploiting others but by abolishing all exploitation.

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Wide variety of characters.
Safe and supportive environment.
Adaptive AI learning.
Cons:
Some features may require a subscription.
Discover more at AI CharFriend.

1. Soulfun — Where Souls Meet in Virtual Reality

Soulfun combines virtual reality with AI technology to offer a truly immersive virtual girlfriend experience, bringing digital companionship to life.
Key Features:
Virtual Reality Integration: Engage with your AI girlfriend in a realistic virtual reality environment.
Soulgen Technology: Customize every detail of your virtual girlfriend for a personalized experience.
Voice and Video Chat: Enhance your interactions with voice and video capabilities.
Pros:
Immersive VR experience.
High level of customization.
Voice and video chat options.
Cons:
Requires VR equipment for full experience.
Visit Soulfun for more information.
Conclusion
The world of AI girlfriend websites offers a plethora of options for those seeking virtual companionship. TalkieMate.com stands out as the best overall choice, providing extensive customization, secure interactions, and unique features. Whether you’re looking for emotional support, intimate conversations, or a customizable virtual partner, these platforms cater to various preferences and needs. Explore these top AI girlfriend websites and discover the perfect digital companion for you.
References
TalkieMate.com
GPTGirlfriend
DreamGF
Soulmate AI
Muah AI
AI CharFriend
Soulfun

INFP asking here, I’m asking specifically here since one of my main characters is an ESFJ himself, but in general I also figure that you guys probably have a much better grasp of small talk than I do.
I just can’t grasp it at all. I’ve watched and studied tv and movies, eavesdropped while in public, random conversations with enthusiastic late night city bus-goers who may or may not have been high, I’ve tried it all. My few friends of the past are always the ones to adopt me, and we usually skip the small talk and get into the deep stuff. If small talk is on the table it’s usually an “eh, eheh, yeah,” from me before I dip as soon as possible. Paralysis of words. I don’t really have that people experience, I’m rather reclusive, so I can’t really reference from my memory on this well.
But I need to know how to small talk for writing dialogue in my story (not to mention just to get more social), and I especially want to know what small talk with an ESFJ in particular might look like. What is small talk, why do people do it? What is the enjoyment of it? It gets my heart pounding so I can’t even understand what there is to enjoy, or the bigger stakes of it you hope to gain by engaging in it. What things do people ask or say, and how do those things hold meaning to someone?
When I think small talk it’s always “so how’s the weather?” “How’s your day going?” “How’s your pet doing?” It holds no meaning, it’s just to fill gaps from empty space. Honestly, I only have one friend, she’s an ISFJ, and we don’t talk much anymore because it’s always just that deadpan “nothing is really being said here” sort of conversation. Is that what small talk is? What is good small talk?

Tanya was a very shy and coward girl. She always used to hide behind her parents. Her parents raised her with utmost care and love. This made her very timid. She couldn't say no to anyone if they ask anything from her. She has given so much money to scammers, just because she was afraid to argue with them. But, life wasn't difficult for her, as her parents used to do everything for her.
Tanya being bright student, went on to clear the engineering entrance exam very easily and got into a reputed college easily. But, unfortunately it was in a different city. Her parents thought, it would be good for her to be independent and more brave. So they get her admitted to the college and drop off her at hostel.
--few weeks later ---
The rainy friday evening of the city has made the mood extremely romantic. The scene shifts from the rainy mountains to the farm house in that area. As the scene zooms in, a loud yet pleasing moaning sound is heard from the farm house. The scene shits to the inside of farm house and it pans on the stairs and the upstairs is in focus. The scene then begins at the beginning of the bedroom door where the moaning sound is becoming more prominent. As the scene begins inside the room the t shirt of the guy is lying. The yellow thin transparent saree of a girl is lying spread across the room. The pant of guy is lying on the saree , with blouse which is torn is lying across the pant. Her bra is found to be hanging on the bed side lamp. Her petticoat which is at the bed stand is the final piece of her clothing on the ground. Her torn panty is no where to be found.
On top of bed, lies the shy Tanya with her legs spread as much as possible to accomodate her dusky senior who is sweating heavily pounding the Virgin beauty. Her soft palms with fingers is gripping his muscular back....
Discord: tanyarp
Hmu if you like to play the dusky guy with the below details.
1) your links 2) asl 3) reference pic for my character as described in the plot 4) I am looking for roleplaying. So, I expect atleast little bit of buildup and not directly into sexting. So, if you are looking for quick ending, this might not be for you
Have a great day everyone!

Source: 🔗 Chat with Lifelike Virtual Personalities — talkiemate.com
If you’re seeking alternatives to SpicyChat for engaging and interactive AI conversations, you’ve come to the right place. Whether for personal companionship or virtual customer support, the AI chatbot landscape offers various options to cater to diverse needs. Here’s a detailed look at some of the top alternatives to SpicyChat, with TalkieMate.com leading the pack as the best option.

1. TalkieMate.com — The Best Alternative

TalkieMate.com stands out as the premier alternative to SpicyChat, providing an exceptional platform for NSFW AI chat interactions. Designed to deliver explicit and personalized conversations, TalkieMate.com ensures a safe and engaging environment for users.
Key Features:
Highly Customizable Companions: Users can tailor their AI companions’ appearance, personality, and interests to create their perfect virtual partner.
Unique Features: Includes dream interpretation with virtual companions like Baba Vanga.
Secure Environment: Ensures user privacy and data security.
Pros:
Extensive customization options.
Unrestricted NSFW conversations.
Secure and private chats.
Cons:
Limited free trial options.
Explore more at TalkieMate.com.

1. Pephop.ai

Pephop.ai offers a sophisticated AI chat platform tailored for businesses looking to enhance their customer journey by analyzing competitor audience behavior and optimizing website experiences.
Pros:
Detailed audience behavior insights.
Useful for optimizing customer journey.
High global and country ranks.
Cons:
Primarily business-focused, less personal interaction.
Visit Pephop.ai for more details.

1. Nastia.ai

Nastia.ai is another robust AI chatbot alternative focusing on detailed audience insights to help businesses tailor their website experiences.
Pros:
Detailed user behavior data.
Helps optimize web experience.
Lower bounce rate compared to some competitors.
Cons:
Business-centric focus.
Learn more at Nastia.ai.

1. AIToolHunt.com

AIToolHunt.com offers a unique platform for discovering and utilizing various AI tools, making it a versatile option for AI enthusiasts and businesses alike.
Pros:
Wide range of AI tools.
Ideal for tech enthusiasts.
Pay-as-you-go model.
Cons:
High bounce rate indicates less engagement per visit.
Visit AIToolHunt.com for more information.

1. BotMake.io

BotMake.io provides a platform for creating custom chatbots, suitable for both personal and business use, with a strong focus on user engagement.
Pros:
High user engagement.
Extensive customization options.
Suitable for various applications.
Cons:
Requires some technical knowledge for customization.
Discover more at BotMake.io.

1. CharFriend.com

CharFriend.com excels in offering a variety of AI characters for different interaction needs, making it a versatile alternative.
Pros:
High engagement rate.
Wide variety of characters.
Suitable for both personal and business interactions.
Cons:
Some features may require a premium subscription.
Visit CharFriend.com for more details.

1. PersonalityForge.com

PersonalityForge.com offers a platform for creating and interacting with highly personalized AI chatbots, emphasizing unique and engaging conversations.
Pros:
High level of personalization.
Engaging and unique interactions.
Suitable for creative chatbot development.
Cons:
Lower global rank and higher bounce rate.
Learn more at PersonalityForge.com.
Conclusion
The world of AI chatbots offers a plethora of alternatives to SpicyChat, each catering to different needs and preferences. TalkieMate.com stands out as the best option for those seeking a highly customizable and secure platform for NSFW conversations. Pephop.ai and Nastia.ai are excellent choices for businesses looking to optimize customer experiences, while platforms like AIToolHunt.com and BotMake.io offer versatile tools for AI enthusiasts and developers. Whether for personal companionship or business optimization, there’s an AI chatbot out there to meet your needs.
References
TalkieMate.com
Pephop.ai
Nastia.ai
AIToolHunt.com
BotMake.io
CharFriend.com
PersonalityForge.com

completely change the idea of ​​the film, the first thing I would do would be to give Casandra Web spider powers and make her an old woman like in the comics, maybe she would go back to the past through the multiverse or time travel, and more references to the Spider-Verse. She can return to her young form when she travels to the past as she is suffering from the effects of time travel, but she continues with the wisdom of an elderly woman, and when she returns to the future she returns to being elderly.
Make her wear her spider suit and use her spider powers for most of the film, same thing with the other spider girls, make a movie about spider persons, with lot of action scenes, And not a premonition film of a generic paramedic.
I would do also makes she acts as the controllers of time and multiverse like in Loki Time Police, acting all this time as a "guardian angel of all Spider Men" since she sees the future and knows everything that will happen to Peter and all the spider persons and she knows that she has some mystical duty to save they, and in the comics she are like this, she is the reason cause Mark Webb Peter Parker and Sam Raimi Peter Parker dont died in tragic deads, Maybe she is sabotaging some of the villain's clothes, adding an object where it shouldn't be, butterflly effect, cause she was there to save them, even in a invisible way, and ezekiel is playng the the opossite role, tryng to kill spider personas. Make her like a assasins creed of Spider Society working with spider man 2099 and superior spider man tor erase a the non canon events and save spider people who are in risk in the past. With all this time travels and multiversal travels there could even be an appearance by Spider Man 2099 and alot of Spider Personas, a aparitiion of Spider Society. And of course many more references to the Spider-Man universe, such as the construction of Oscorp.
Make the movie be a Live Action Prequel of the animated Spider Verse 3 or a point of start for a live action Spider Verse movie or universe, maybe with morlum in the post credit scenes or some Spider Verse 3 related scenes.
And make the film take place even further back in time, maybe during the Second or first World War ,19th, 18th or 17th century, or perhaps a few years after Christ, because the 80s weren't that long ago and you couldnt only understand it through details and the film didn't give the feeling of the past.
And of course make the film more marketable to the mainstream, maybe call it "Spider Woman", "Spider Girls" or "Spider Women" would atract more ppl
Or even "The First Spider" or "The First Spider-Men" (considering that Madame Web is one of the oldest spider people in existence, or even the first if we not consider medieval spider man, and the film is set in the past. Calling a protagonized girls movie The First Spider Men is ok, since Men means Humans in general) or Just "WEB" since this Includes all versions of spider people that would appear in the film and sound marketeable and at the same time still make Madame Web the main character.
And these factors that I said are just factors about capturing the audience, there are still technical factors that need adjustment, such as bad acting, bad writing, bad CGI, bad editing, bad action scenes, bad visuals, bad scenes.
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQOVi_Fo0FOVH7fXZ7m89rPJwk6E-edN_JqdgsACOtDmEYYB_npNc9T1CM&s=10
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTqws796gNzy7fDgMBLPdRyAtdtyH-94cpNyymThpkSvV_QqWhNzMpKGNyt&s=10
https://cdn.marvel.com/content/1x/463mwb_com_mas_mob_01.png
https://cdn.marvel.com/content/1x/julia.jpg
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS0ot1oYqZiabv7FnhmbNw8OnJ3QkRfo7fFGP1Oe14l9QNn5pWP0_mPHA1G&s=10

1. Skinny

i think this is a really beautiful song to gain intro into the next few songs, this is very sad but it’s truly beautiful i feel like this is a story that goes hand in hand with everyone in the world it could happen to anyone and i think it’s truly beautiful. she’s real she’s herself no matter what society sees her as, and crying is truly a caring form of feelings. i love this song bc of how melodic it is and it’s sad but it gets there. am i acting my age now? does it matter what we do whatever age anyone is? why are we judged. why is everything we do feeding people…remorseful? loving. i really like the strings in there with no voice it’s truly beautiful and sounds so dramatic like it’s sharing her feelings she has for the story she’s explaining.
the transition was so beautiful it went from sad to so upbeat horny?

1. Lunch

this is just yes. this is how every wlw relationship feels like.
these transitions are really beautiful

1. Chihiro

sounds groovy. open up the door fr. sounds like a story as well, it sounds like something common that people go through, maybe hurt? it sounds very emotional i like it, i like when she goes into the different voice effects and there’s echos it sounds very good i feel like this would be a really good song to listen too while faded. the pause to from meeee was so fucking good. and then it goes back to her regular voice sounds very good. her voice is soft but it’s clear. sounds like a story i’ve been through before it’s something that definitely happens it sounds so real. familiar? nostalgia? idk. ALL SHE WANTS IS FOR YOU TO OPEN THE DOOR RAGH. i like the last bit with the male voice it sounds like lofi 80’s arcade vibe giving me nostalgia to undertale! it sounds really nice though with modern and the older sounds.

1. BIRDS OF A FEATHER

this has to become a classic love song. i want my girl to stay until im in the grave that’s so beautiful. it’s such a wholesome love song pleaseeee id put this on a mixtape for a girl i like. i’d love you till the day that id die is so real. that’s so beautiful. so emotional. truly so mesmerizing. i like the beat it sounds cool. devoting to someone a truly expressive feeling. ITS SO EMOTIONAL THE BILLIE QUIETLY SCREAMING I LOVE IT. I SENT IT TOO MY GIRL.

1. WILDFLOWER
   guitar is a good choice. very wise words. errrm sounds a little too close to home. GOD IT HURTS. this sounds like something i’ve dreamed before. i’m sobbing now welp. this is absolutely beautiful, and i feel like drowning. this is so beautiful this is so tragic but beautiful. god.nit sounds like someone is trying to talk too me. hurtful b hurtful love it tho.
   
2. THE GREATEST
   

i love the ukulele oh my gosh absolutely amazing. she sounds like she truly cares about whoever she talks about. i feel like this emotion she’s describing i know exactly what she’s talking about. it’s sad but it’s beautiful man. maybe flashbacks to graduation era? hmm interesting. oop- it sounds strained, there’s a tear in her heart? sounds like she was trying to say fuuuu then fight 😭. this one is insanely beautiful. i love her voice. and her devotion to this character it’s something everyone can relate too. that’s gonna sound beautiful in concert the screaming is gonna be so beautiful. her voice sounds so powerful. added to my sad playlist fr damnn that’s powerful id scream this at the top of my lungs.
i like the transition it’s smooth

7. LAMOUR DE MANVIE 

damn real billie real. me fucking too billie me too, that’s all. i like it. my stomach hurts too. it’s hard to leave that but doing it is one of the greatest feelings i’d cry if i saw this in concert.
the transition oh my god from bawling sad to revenge era hello! THATS HOT IN THE SAME SONG DAMN FR REAL SHIT BROTHER
so glad it’s over yuh get it billie stomp them into the ground i hope whoever hurt you is bawling on the floor rn

8. the diner 

yes.

9. bittersuite 

it’s okay bear was kinda jumping on me during this but i like the paranoia part it’s cutesy

10. Blue 

it’s groovy not the birds of the feather reference that’s so good omg this is nice the soft part is so beautiful 🥹real. real asf the middle sounds like me being paranoid lowkey the voice is so cool it’s robotic a bit.

On May 17th, 2019, hip hop artist Tyler the Creator wrote one of the most critically acclaimed albums of the year, Igor. A follow up to Flower Boy, Tyler the Creator leaned more into neo-soul and funk production to create a concept album with a story. It describes a love triangle between him as Igor, a male love interest, and the male love interest’s girlfriend. Igor catapulted Tyler into mainstream success and led him to reconstruct his past as a shock rapper. Aesthetically, for the rollout he dressed up as the titular character with a suit and a blonde wig, creating a new alter ego for this album. With all the critical acclaim, Igor won the Best Rap Album in the 2020 Grammy Awards. However, this sparked a discourse, especially from Tyler himself, if this album was fitting for the category considering its pop production. We’ll be taking a look at the tracks to refresh our minds about the story that started this iconic rollout.

Tracklist

IGOR’S THEME
The intro to Igor that displays the theme of circles and running. repeatedly. “Running around town, they going to feel this one” and “got my eyes open” are sung repeatedly by Solange and Lil Uzi Vert through synthesizers.
EARFQUAKE
The lead single to Igor features a verse from Playboi Carti and background vocals from Charlie Wilson and Jessy Wilson. It perfectly sets the overall scene of the plot of a codependent relationship, where Igor can’t get enough of his lover.
I THINK
The third track of this album which features background vocals from Solange. This song features the start of the infatuation of Igor and his love interest. However, Igor assures that this is starting to be more than just feelings. We also see another theme with the line “I’m your puppet, you are Jim Henson,” which we’ll later see in puppet. Also, I think (pun intended) this track is a very clear homage to Pharrell’s production style with the four count.
EXACTLY WHAT YOU RUN FROM YOU END UP CHASING
The only interlude in this album, where Jerrod Carmichael talks about the cycles of love. It foreshadows how Tyler will run away from his lover, where in the beginning Igor was chasing him. A huge omen that this romance will not end in a happy ending.
RUNNING OUT OF TIME
This song discusses how Igor feels like that he has not much time with his lover. We see that his lover might not feel the same way. However, Igor is getting more and more infatuated with his lover to where he feels like he’s drowning.”
NEW MAGIC WAND
This song opens up with Jerrod Carmichael, “Sometimes you gotta close a door to open a window.” Closing the door is a reference to how Igor want his lover to end his current relationship so he can spend more time with him. The new magic wand can describe how much Igor wants his lover’s girlfriend to be out of the picture. Possibly, considering murdering her, we can see that Igor’s love has gotten very obsessive.
A BOY IS A GUN\*
Well, if I had two nickels if someone used a sample from “Bound” by the Ponderosa twins… “A BOY IS A GUN*” talks about how Igor’s relationship has turned sour. His lover doesn’t want to return his affections, he invites his ex to breakfast with Igor, Igor realizes that his relationship isn’t living up to his dreams. Igor chants at the end, “Stay the fuck away from me,” arriving full circle with exactly what you run from you end up chasing.
PUPPET
This is where we see the other side of the story, where Igor doesn’t feel he has much autonomy in this relationship. Rather than in the previous tracks, where we see him being controlling over his lover, this time Igor feels like the puppet. We can see that the relationship is definitely not 50/50.
WHAT’S GOOD
“BITCH I’M IGOR!” Tyler the Creator is flexing his production skills to show that Igor really lost it. At this point, he has fully become the villain - Igor.
GONE, GONE/THANK YOU
Tyler’s iconic two song in one in the tenth track is here. And here we see the positive/negative sides of a breakup of a toxic relations. GONE, GONE shows the bittersweetness of a breakup, pretending where everything’s fine but reality everything has gone to shambles. This is especially heard in the passive aggressive lyrics but with a very happy-sounding production. THANK YOU shows the more accepting stage of the breakup but realizing how much Igor is hurt from this experience.
I DON’T LOVE YOU ANYMORE
We see that Igor is hurt over the relationship, but can’t get over the relationship. He tries to tell himself repeatedly that he doesn’t like his crush anymore. However, this shows that he hasn’t matured or grown as he sounds like as angry as a child.
ARE WE STILL FRIENDS?
The outro shows the overall accepting maturity of Igor about the former relationship. He hopes to repair it by making it platonic. There is still a hint of whether or not he still like him, but he knows that he has to move on and close this chapter. This also features a guitar solo from Jack White, wrapping up the theme of love vs. infatuation.

Links

Spotify Apple Music Youtube
Music Videos
EARFQUAKE I THINK A BOY IS A GUN*
Featured in popheads
[FRESH] Thread Pollen Rate

Discussion Questions

1. What’s your favorite song on Igor?
2. What genre would you label Igor in? Do you think Tyler had a point in that Igor isn’t a rap album?
3. Which one of Tyler’s frequent collaborators not featured in Igor would you have like to seen in this project?
4. Do you consider Igor to be his magnum opus? Where would you rank it in Tyler’s discography?

Welcome to the Reverse: 1999 Daily Questions Megathread!

Please use this thread to ask any general inquiries about Reverse: 1999. Also, kindly search keywords under this thread as your questions may have already been answered by other Timekeepers.
Community Guides

• General Community Guide (tierlists, teambuilding, puzzle solutions, etc.)
• Income/Saving Guide
• Prydwen (tierlists, guides, character info, etc.)

Cheat Sheets

• 6-star Psychubes
• 5-star Psychubes
• Investment Priority
• Farming Stages
• Resonance Builds, Resonance Costs
• Material Crafting Requirements

Tools

• Planner & Summon Tracker

Wiki Pages

• Reverse: 1999 EN Wiki
• GameKee CN Wiki
• HuiJi CN Wiki
• bilibili CN Wiki

Frequently Asked Questions (FAQ):
Q1. Should I re-roll?

• This depends on how much time you have to dedicate to re-rolling. In general, all three of the beginner banner characters are great, and you have options of doing shortelonger re-rolls, as per this guide.

Q2. Why is my answer incorrect in for the trail puzzle?

• Try to answer with proper letter casing - the answers are case-sensitive.

Q3. When is the daily reset?

• The game resets at 10:00 UTC, please refer to this timer.

Q4. Does pity transfer over to the next banner?

• Yes, pity should transfer over to the next banner of the same type.

Q5. How should I build my team?

• In general, teams consist of a single damage dealer that get supported by support-type characters, but there are many variations. We encourage you to take a look at some of the guides above!

Q6. Can I re-watch the cut-scenes/story?

• From the main screen/lobby, refer to the left icon below the Bank, go to Atlas, then go to the Story Review. This does not currently apply for event stories, unfortunately.

Q7. Are multiple copies of a certain character necessary?

• This will depend on a character-by-character basis. In general, however, there should not be a large importance on getting duplicate copies of a character.

Q8. When should I stop leveling characters?

• Please refer to the investment guide listed above.

Q9. What should I purchase in the Psychube Shop (Thought Elements/Thoughts in Eternity)?

• Do not buy the 5-star psychubes, as we will eventually get enough 6-stars.
• Prioritization order:

1. LF Polarization
2. Englighten I
3. Enlighten II

Q10. What should I prioritize in the Oneric Shop (Oneric Fluid)?

• Prioritization order:

1. Monthy Brief Cacophony
2. Crystal Casket
3. Permanent Brief Cacophony (or Moment of Dissonance to craft Brief Cacophony if needed)
4. Sonorous Knell

Misc Questions
M1. Are macros and auto-clickers allowed?

• No. They are against the game's terms of service; any usage will risk the potential of being banned.

​

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Hope all is well, folks!
I'm a writer currently looking for a digital artist whose primary specialty is fantasy semi-realism with a slightly anime-esque dreaminess to it. Provided samples are not from the project.
Just the best reference to the style that's been done already for the project.
The work will be for a fantasy doorstopper fiction series, and will be a long-term project. I did have an artist onboard, and they had provided many gorgeous pieces that were exactly what I was looking for; however, they've unfortunately taken an indefinite hiatus from art. After some time mulling it over as the project's developed further, I decided it was time to find a new artist.
Regarding resolution/dimensions, a lot of the work done was within the dimensions of 1705wx2500h in PNG, with visual progress updates provided periodically. Of course, depending on the needs for certain pieces, I'm open to these dimensions being altered to accommodate to things such as backgrounds, additional characters, etc.. The artwork will be utilized in a mixed media project where they will be printed/presented within their corresponding books, so large format is important to maintain crisp images upon publishing.
For characters with concept art already drafted, said material will be provided as reference, but I'll be asking the hired artist to reimagine and reinterpret things such as scenery, pose, outfits, etc.. For the rest of the characters, other references will be provided. I personally do not have an artistic hand, so drawing what I envision isn't easy for me; I tend to provide character blurbs, moodboards, "face-claims," etc., to give artists an idea of what I'm looking for. I would like for the artist to let me know what works best for them in terms of references.
To expand on the budget, I was working with commercial rates as follows: Full Color Bust Portrait: $160.00 (USD)
Full Color Half Body Portrait: $200 (USD)
Full Color Body Portrait: $240.00 (USD)

• Additional characters incurred an percentage fee based on the original aforementioned price to be included in addition to the original price.
• All portraits included a simple background. Complex backgrounds incurred an additional 10% fee based on the original aforementioned price to be included in addition to the original price.

Due to the nature and current state of the project, there is a Non-Disclosure Agreement upon boarding, as well as a Commission Sales Agreement. With the Non-Disclosure Agreement, there is a request for portfolio omission that will be lifted upon publishing (e.g. when each book is published, all featured work by the artist that is in said book will then be free to publish in the artist's portfolio.) Previously, the portfolio omission fee agreed upon was 10% of the original price of each portrait. I strive to make agreements in the artist's favor in a situation like this, as I understand that this level of discretion impacts the portfolio.
As far as deadlines go, perhaps maybe a month to two months per portrait, three months at most. I know my budget may be small for what I am asking, so if it means extending the deadline, I am more than willing to accommodate. I respect the time, labor, and energy that goes into the craft.
All exchanges after hiring will be handled via e-mail. I'm stationed in the US in Central Time; ideally, for effective correspondence, I'm looking for artists who live in adjacent time-zones (Pacific, Mountain, Central, and Eastern Standard Times.)
Along with commissioning multiple portraits over time (so far, I'm aiming for at least 20 portraits, and that's just with characters currently established) when the time comes for the series to be published, I am ensuring royalties. I'm looking for people who enjoy the fantasy genre that believe in the collaborative space I am creating within it, and want to share that vision with me.
Thank you for taking the time to read this.

Tier List: https://imgur.com/a/RjE3PTc
There's something special about this battle from the very beginning, with how the announcer is doing these hushed whispers with this ominous music playing.
"Look alive, crème de la Kremlin's arriving! Try to serve Ivan; no surviving!" Ivan saying "look alive" as we get a close-up shot of his face is an attention-grabbing opener. The wordsmithing here with crème de la Kremlin and serve Ivan/surviving is magical. The background looks gorgeous too, great use of colors. "You're a land rover; I'm a land expander! Here to hand you your first loss, Alexander!" Well this is simultaneously a top-tier boast and diss; Alexander's empire fell apart when he died while Ivan's conquerings remained a part of Russia, so he's already making a strong case for being better at the thing Alexander's famous for. "I'll school you like Aristotle; smack you harder than you hit that bottle!" This is fine. A reference to the fact that Aristotle taught Alexander and a diss against Alexander for being a drunk. These aren't particularly powerful lines, but they're functional. I do love the way Ivan's eyes wander to the rhythm when he says 'hit that bottle'. "You're nothing but an overrated lush; I'll crush ya! I'm the first Tsar of all of Russia!" Interesting tidbit that does make Ivan the Terrible seem like a much more significant historical figure than he otherwise would have if you didn't know that. Getting all the guys from the Russian battle in the background is a fun touch, even if the dancer dude does not feel like he remotely belongs up there with the rest of those guys. "You're an asshole with an anastole! I'm heaven-sent, divine and holy!" The first line is quite mediocre, and the second line is mostly just serving to build up to the next line. "So don't even try to approach the God, or you'll get a huge sack like Novgorod!" God fucking damn, this is easily in my top ten closing lines. Not only is it a clever line and a gloriously epic boast, but the line delivery. His voice is so low and monstrous-sounding, especially with how they seem to have layered extra copies of the line recording on top of it. And the visual with all the Ivans on-screen, and the versions on the right and left turning to the camera join the one in the center in delivering this wham line... UNF. I love this!
"Hey fella, swell diss." Gotta cut in early here to acknowledge how funny and iconic this reaction is. "But now you got the Panhellenist from Pella hella pissed." This line speaks for itself, it's got some of the best wordplay ERB has ever crafted. "Stepping up's foolish as well as useless, little Vasilyevich! Let me spell out the list!" Pretty cool wordsmithing here, nice setup to something bigger though I don't think what follows quite lives up. "I brought foes to their knees in Phonecia! Breezed through Gaza to Giza! Had the Balkans, Persia, Syria, Iraq, and Pakistan in my expansion pack!" This comes pretty close to just being a straightforward history lesson, there's not a ton of cleverness here. The expansion pack joke is a little corny. There's a little bit of wordplay going on with bits like knees/Phonecia and Gaza/Giza. Flow's weaker than in the rest of his verse too. The visual with the map is a nice touch. "While you died in the middle of a game of chess; you got vodka bars: flavorless!" Some competent disses here. I really like the visual of the chess board: he even knocks over a King, which is presumably supposed to represent him defeating Ivan. I think the way Alexander paints Ivan as a disconnected figure who's just playing games whilst Alexander is actually out conquering in-person is a nice way to preserve his credibility after that land expander bit from Ivan. "And what I'm about to spit will be the craziest, so go fix me a drink so I can stay refreshed!" Nothing too great here, although I do like the dismissiveness inherent in Alexander ordering Ivan to make him a drink. "Kudos! Greek for the glory I got from winning every single war that I fought." Nothing much to say, this is a good boast, it checks out. "So this will be straightforward: I'll take up this sword that I brought, and slice you in half like the Gordian knot." This isn't the most substantive way of saying he's better than Ivan, but referencing the Gordian knot legend is something. "And I'll soar to the top, like the eagle whose feather I would sport in the helmet I wore, as I swatted my many enemies; shattered them like a porcelain pot, and they'd be praying for the torture to stop!" Okay, now Alexander is just witlessly rambling. This is easily the low point of his verse. "But I would leave 'em contorted and they'd be screaming and roaring until their vocal cords were torn up and shot!" Again, he's just rambling, but I will say that his flow and line delivery starts being so awesome here that I can give it a pass. I also like how the way the music stopped after he yelled "stop!" last line before dropping into this one. "And I would holler "Bucephalus!", hop on my horsey, and trot! I win, Ivan; I vanquish! I'm an immortal; you're not!" He's still mostly just rambling about how great he is without being clever about it, but again, he sounds so awesome here that it works. And the Ivan/I vanquish is good wordplay and a nice parallel to the serve Ivan/surviving bit, so it does have that much going for it in terms of substance. Also the visuals cutting back to Ivan pouring a drink in the creepiest possible manner are fan-fucking-tastic.
Ivan concedes defeat, having actually prepared Alexander a drink. You'd think a little interim bit like this would hurt the battle in repeat viewings/listens, but I enjoy it every time. Zach Sherwin's line delivery of "I WEEP, it's all so EEEEAAAASY!!!" is hilarious. Love the way Ivan comes poking out of the shadows all rat-like as he asks what's wrong. I also dig the way Alexander's facial expression changes when he says 'queasy' and he falls down and his head moving out of the shot gives way to Ivan standing behind him celebrating and it's just so GOOD. This battle is so much fun! The "HA!!! You've been poisoned!" is fun, as is Zach Sherwin's deliberately bad acting with his final words. Ivan declares that he is Terrible and that there's no Great who could defeat this Russian, but a mysterious shadow materializes and quietly suggests a flute-busting Prussian might manage it.
What the FUCK. The flute solo! The chanting of "Old Fritz!" The bird's eye camera angle that Lloid looks up at as the emblem of what is probably his house or country or some other organization related to him is on the floor! That dapper-ass outfit! The little pose he strikes as his title card appears! This is without a doubt the greatest entrance any contestant has ever had in ERB to this day. This new music track kicks ass too. "Out the gate, first servant of state! Oblique attack tactics, ain't exactly straight!" As if he wasn't cool enough already, the king is a queen! Good use of consonance too. Also apparently this is referencing a famous tactic for battle that Frederick used. I looked up 'first servant of state prussia' and was informed that Frederick pursued a policy of religious tolerance and abolished torture immediately when he came to power. What an absolute chad. I wish he brought that up here; at best he vaguely alludes to it. "I've got creative talents and battle malice; hard as steel on the field, genteel in the palace!" These lines aren't substantive, but the line delivery is a ton of fun. And the visuals with him jabbing his cane and sipping from a cup are immaculate. "Russia's fucked up but no wonder why; with your tundras and taigas and bears oh my!" Great flow, the visuals are absolutely top tier. The line itself is competent, definitely getting carried by the presentation, but the tigers/taigas swapout is good. "I would pay a guy to tear out my eyes if I had to look at your troll face every night!" Man... why can't mediocre lines in all of the battles get such good line deliveries? Lloid is selling the absolute fuck out of this weaksauce diss and making it work. "Now, bring me my chair! I'm weary from tearing you a new derrière from here to Red Square!" Wait a minute, is that... chair... wear... tear... derrière... square... IT IS!!! IT'S A 5X RHYME COMBO!!! "Fought a Seven Years' War, I ain't scared of a Tsar! 'Cause beating you only took me twelve bars!" A truly fabulous boast and iconic verse closer.
These interims continue the trend of being hilarious by having Frederick die in his chair without the need for Ivan's intervention, which is a reference to how he actually died! Fancy that. I do think this one doesn't quite stand up to repeat encounters the way the first intermission did; the line about saving money and the little song Ivan sings are a bit drab to sit through again and again, but hey, they were funny the first time and it's still a fun performance from Peter. Pompey comes in to seemingly start rapping, but immediately gets decapitated by Catherine the Great. Poor guy. I would have liked for this to be a five-way battle and to have gotten a verse from Pompey first, but ah well.
"Macedonians, Prussians, and Romans; those aren't worthy opponents. It takes a Russian to take down a Russian. I'm Cat; I'm a cat; you're a rodent!" This is a pretty good opener, except for the fact that she's singing. Introducing singing into these rap battles is always a serious momentum-killer. She's got a great costume, though. "How are you the head of our state when the state of your head was such a crazy one? Such sick shit going through your brain that you stuck a spike through your own son!" Good wordplay in that first line, great visuals with these dancers up to chicanery in the background. "You're unbalanced like I unbalanced the European powers with the wars I waged! I brought the Russian empire straight out the olden days and right into the golden age!" That first line feels a little forced, competent boast in the second line. "I'm the boss bitch that you just can't meddle with! This whole battle's like Alaska 'cause I settled it!" Nice closer.
Ivan briefly interjects as he tries and fails to seduce Catherine with a horse. Peter continues giving the best performance of his career, though I can't help but wish we got a little more here. Feels weird that this is the last we see Ivan onscreen. Would've been nice to at least see an upset reaction to his ploy failing.
Catherine proceeds to inform Ivan that this rumor about her sexual proclivities is false: "That horse story is a pile of shit, though I do keep 'em chomping at the bit." There's three different layers to 'chomping at the bit' going on here, and that's cool. "But you're never gonna get it, nyet! Couldn't spin in my chamber of this were Russian roulette." This is pretty funny, and I think it's for sure her best line. The little interjection of 'nyet' is great. "I'm picking up where Peter the Great left off! Bringing sexy back to House Romanov!" Not much to say here. Kind of filler. "So don't call me Queen, I'm far more great! Empress to Tsar 8, bitch! Checkmate!" This is literally a killer closing line; she's referencing how Ivan died in the middle of a game of chess, as Alexander said, and years later I'm only just getting that now.
So all of these verses have considerable flaws, I think. Ivan's is too short, for as much screentime as he gets he doesn't get much in terms of actual rapping. We could have at least used a few more lines in his first verse. There's a lot of Alexander the Great's verse that is just him droning on about how great he is without actually having much substance or cleverness to what he's saying. It's his godlike FLOW that is carrying him through a lot of this. And that's a legitimate factor to consider in his performance and it does make his verse great to listen to, but I wish there were more meat there underneath Sherwin's kickass performance. Frederick the Great is the most entertaining part of the battle(saying a LOT when Ivan the Terrible is present) and his lines are probably the most consistently good, but none of them are great, y'know? He could have used a killer burn or two in there, his diss game wasn't great. And Catherine the Great... well, she sang for both of her verses. I hate it when rappers sing, it kills the energy, and when going back to listen to this battle(which is very often!) I usually stop once her verse starts. She's got some good lines, they're decent verses on paper, and her actress is obviously a good singer, but I just do not want to listen to a solid minute of someone singing in a rap battle.
And really, having so much of this battle be skippable to me is reason enough to justify putting it in A Tier rather than S. I certainly intended to put it in A Tier for a long time. But... even if I feel Catherine's verse ends up being a drag, and even if the verses that come before have some flaws that might keep them from being S Tier on their own... it's all just so fun. Peter and Lloid and Zach are all at their best, and I genuinely do think Ivan is the best character Peter ever played. I love the performances, and the visuals, and the music(mostly), and the structure of having all these Greats dying off to the Terrible. This has got to be in the top five rap battles in terms of which ones I go back to the most; probably exactly number five. And if that isn't worthy of S Tier, then there's only gonna be four S Tiers on this list, and that seems like too few. Bottom of S Tier.
Ivan = Frederick>Alexander>Catherine. Maybe a little controversial, but I do think that you could make a valid and substantive case for any one of these rappers being the winner.

Hello and greetings once again my fellow CUEnthusiasts!
I wanted to push this one out asap just for clarity and transparency. Future Coaches Corners will sadly be less frequent xD
If you missed my first one check my boring post history, it goes over some good pointers for trading :)
This time my focus is on something close and dear to me on this app. I’m going to try to explain what one card collecting (also known as hoarding) is, and give some tips for how to get started. I’ll also go over some strategies to collect respectfully and efficiently.
A one card collector is a person who collects a set number, or as many copies of a single card as possible. Usually it’s just because it’s a card we like or has a bit of meaning. I picked my 4 cards just because the pictures matched my in game avatar lol. Theres many reasons why we collect :)
I first want to address something I see somewhat often. Why collect so many of one card? And why do some people not like one card collectors or why do we have a bad rep.
The answers are simple. We like seeing high numbers of dupes and it’s fun to do. Often what we’re doing is mis-understood or looked upon negatively. I’ll try to clear things up a bit.
Most of us are not trying to eliminate the availability of a card or drive values. Keep in mind no card ever goes out of print. Level up cards are the only exception as each player only gets one.
Most one card collectors choose a relatively worthless card or a basic/fusion card to collect. Very little is impacted by one card collectors and it shouldn’t prevent one from completing a collection. Most of us are ok to trade a copy of a card we collect if someone is having trouble finding it. We’re not monsters lol. (Well, maybe Flex. Dude’s a literal zilla!)
I would like to add, I don’t condone or approve of players hoarding up value cards just to get wild over pays. We (one card collectors) aren’t trying to flip the cards we collect, when we do toss a card we collect to help someone out, it’s usually at a loss compared to what we originally paid lol. We are not the same.
By writing this I hope to open up a bit as to what we do and how we trade. I know the majority of players don’t collect duplicates by the trade full, so I hope this sheds some light too. As some of us one card collectors have willingly done so thousands of times.
One card collecting can be done by anyone, regardless the size of your collection and can be casual or very focused. Let’s get to the fun part. How to get started on your collecting journey!
First, you need to choose a card to collect. I’m going to refer to what I collect for examples just because I’m very familiar with them. Choosing a card of little value has 2 upsides, collecting them will be cost effective, and, you’ll be able to build good numbers. If you choose a card of value it’ll be hard to establish good numbers just due to the cost of potential over pays and also in part, scarcity and demand.
Basics/fusion won’t factor in as much as they’re very abundant and trade at standard ratios basic/fusion normally do. I will however, advise that any limiteds you may have like 15-20+ of, trade 1 of them for fair ratios of the basic/fusion you collect, but do make a buffer so you retain a certain amount of dupes for your same rarity card if you collect a limited.
For value/trade reference, when I collected a legendary fusion, I’d trade a limited common or a limited rare I had tons of 1:1 for them. I currently offer on discord a limited card for 4 black holes(please refer to discord for full terms and conditions lol). The reason is, even if you collect a limited card of that rarity there’s no way every dupe will ever convert into your card unless there’s a collector that happens to have lots of your card. You’ll mass numbers of your basic/fusion card fast this way. It’s just an all around win win for both people.
Next, choosing a Limited Card Rarity. This may seem pretty straight forward however there are a few factors to consider. I’ll break down each limited by rarity.
Limited Legenday- Next to mythics, these can be the most expensive cards to collect, even if low value. If you’re ok getting multiples of your low value Limited Legendary for higher value ones or mythics, those will probably be the more common trades you’ll see unless there’s another person who collects a low, then it’s usually 1:1 collection swaps. It’ll be rare in general to see many offers of 1:1 lows because they’re so accessible that the ones people need or look for are usually higher value. Collecting a high value Limited Legendary will be hard to do. It’s rare you’ll get a trade for lower value break downs. Most trades will be 1:1 Limited Legendary value or they’ll ask a mythic, and this is without the overpay collectors are sometimes known for. (Yes, some limited legendaries are worth a mythic, I’ll cover this at a later time). Not a cheap card to collect. Though keep in mind too, spotlights will also have impact on any Limited Legendary collector. Adjust if needed or check with the collector to find out the new offers.
Limited Epics- This is one of my favorites to collect, especially one of little value. Every player, old or new, wants/needs limited epics. Lots are playable, and there’s usually ones people need of this rarity. Easy to get multiple in a limited legendary break down, or 1:1 for other limited epics sometimes even getting 1 of your epic for a few of your rares. Many players chase epics and legendaries and this will be how you build numbers. Again choosing one of low value will help build numbers, and that’s what one card collecting is about.
Limited Rares- While some what close to epics, rares were actually my least favorite to collect, mostly because I also collect an epic. The problem with rares is, mostly newer players need rares. Older accounts just chase new ones or cards of higher rarity. You’re going to see many 1:1 trades of your rare card for an epic of yours, just because rares are fairly easy to complete. Not too bad if you just collect a rare but because I also collect an epic I couldn’t take 1:1 trades like that. 1:2 sometimes though but if you just collect a rare then these breakdowns are ok too. It’s why out of the 4 cards I collect, the rare is the one I have the least copies of. But again, it’s somewhat easy to build numbers with rares if you’re willing to invest in em.
Limited Commons- Much like limited rares, these are easy to build numbers with, but it’s also another easy rarity to complete, so be prepared for people wanting higher rarity cards for them. Though the good thing is you can usually get multiple copies of your card as a higher rarity break down if you’re willing. There’s also many players who collect a limited common, so collection swaps are usually frequently happening.
These are just some of the more common things to consider when selecting what to collect. You will see a wide variety of trades for the card you choose to collect, so you’ll become more accustomed to what you’re comfortable trading for your card with time.
Next, some strategies and tips I’d like to share. I’ve always been a one card/character collectohoarder in the card apps I’ve been on. Just how I’m built xD. Here’s some things that will help you both stand out because of your numbers, but more importantly, will draw out your cards because you’re a good trader for them and people want to deal with you.
I’ve always been more of the “I’d rather someone send me a card I collect then me send a trade and put them in a position” collector. There’s nothing wrong with sending trades. Just my preference. I’d prefer someone willingly offer it than me put the decision on them.
So, that being said, what do you offer to maximize your gains? Again I will refer to what I collect as examples. For this I will use The Great Annihilator which is a limited epic.
I’ll start with the topic I probably do the least of and that’s sending trades. Like I said before in my previous post, I don’t send for singles, ever. The only exception is this scenario: I’d post in game for Blazar (a limited rare I used to collect). A trade would come in giving me blazar for a meta/value limited epic, say testudo 1:1. When I go to counter, I see their blazar is a single that they’re offering and they also have a single annihilator. Because of the sheer value of my limited epic and because I always offer any epic, I would counter into their single annihilator only because they offered the single blazar, if the blazar was a dupe, I’d leave their single alone. Most of the time too they’re just wanting something playable for something I collect. But I’d never be upset if they decline. Their cards, their choice. But now they at least know what I’m wanting for my card.
Also when sending a trade, don’t be greedy. By this I mean, if they want a same value card as the one you’re taking or in my case sometimes, a higher value one, don’t take more then 1 of their dupes if they have many, if you’d do a 1:1 anyways. 1:1 is always fine and you’ll find they’re usually happy to accept a fair trade, and as well may send you more copies as they get dupes or the ones they have. Respect goes a long way! I also have a rule where if I get declined when I do send or counter, I won’t ever send again. They know what I want now and they’ll send if they want to. Pretty straight forward stuff. Next I’ll share a bit of how I manage my collection successfully.
If you’re wanting to draw in trades, try to balance the dupes you have of the same rarity as the card you collect, the more cards available, the more trades come in. Look for counters or to break higher rarity stuff down for multiple fair value same rarity cards you have little to no dupes of, especially if u have many dupes of what they want. This is more applicable if you don’t also collect a higher rarity card. Also counter where you can to balance your own collection, making a trade work that’s beneficial to both players while maintaining your cards is always a win win scenario and makes logical sense to do so.
Second, and this is key. Get new cards of the same rarity as your card as soon as possible and post them in game. This is to get your cards off older accounts and ones that don’t open many packs. Here’s my strategy and it works like clockwork and I feel, is what sets me and other collectors apart from the general population.
Get them through opening packs or FAIR trades (I emphasize fair, no need for greed ever) and Immediately post it in game for trade. Multiple copies if possible. Next, search the want section for those looking for it and send 1:1 trades to the ones who have dupes of your card, never more. This is highly likely to be accepted. Now because you also posted it for trade in game you’ll most likely have offers from these older accounts that may send you multiple cards of the same rarity as the new card because they just want to be complete. This is typical. I don’t consider it stonks either, this is common in every card app I’ve been on and I’m not a fan that this is a norm. But it’s the reality of the trade economy.
Anyways, back to the subject. Counter their unnecessary over pay and look for dupes of your card and just take 1 copy regardless how many copies they have. A very high percentage of the time it’s accepted with the message “wow thanks” or “nice offer” shortly followed by a friend request. Now you have a regular who will not only usually willingly trade you their dupe, but they’ll hold em for you and possibly even hunt down more for future trades. Respecting a persons collection can do wonders for both parties, and the fact you countered a clear “over pay” for a realistic and fair trade reflects well on you as well. I don’t consider this taking advantage, I consider it the counter to the seemly now expected overpay for a new card. I will admit I do benefit as well, but to me, the best trades are the ones where both people are happy. Mutual wins. Even though I collect a card in numbers, they know with me, it’ll always be a reasonable and fair trade, and the trade will always get accepted.
How to really build numbers:
The goal is always numbers based, either a set denomination to display proudly or just as high as you can go. Worry less about values and more how you can get numbers if this is your true focus. This depends on what you’re collecting of course.
The max number of cards you can get in a single trade is 4, and you want 4 as often as possible. 1:1 trades are great too but 4 per trade will build you up fast. So depending on the rarity and value of your card, you’ll want to leverage trading 1 card for 4 of yours as often as possible as fairly as possible as this is most economical. What I don’t mean is give them 1 epic and take 4 of the epic you collect, be fair always. It’s worth noting, lots collectors usually offer some kind of over pay for 4 copies of their card. For example, some collectors trade 1 of any limited legendary for 4 of their low value epics or a 1mm mythic for 4 of their Low Limited legendaries. The value and scarcity of your card may cause different ratios. Adjust accordingly to ensure at minimum a fair trade.
I focus on numbers. That’s my game.
Now everyone may not want to do the same but I say this because offering to break down 1 higher rarity card into multiple of my lower rarity cards builds numbers fast, as I mentioned above, most players need/want higher rarity cards more than rares and below, and they’re more likely to happily send a bunch of your card for 1 of a higher rarity card. There will always be players new and old too that will still have lower rarity card needs of course and those are always good for a 1:1 same rarity trade too.
You also may offer 2 cards of the same rarity for 1 of your card, and this is fine too but could cost too much value wise and/or deplete your dupes without maximizing your number potential. In my case, annihilator has little value, so my same rarity overpays were that I traded any limited epic 1:1, regardless of my cards values. I’ve yet to trade two limited epics for 1 annihilator and probably won’t. But that’s for you to decide and be comfortable with.
In order to be really, really effective in getting numbers it takes time, strategy and patience. I will say once more. It may take a bit at first, but with time, trading for your card hundreds, posssibly thousands of times. You’ll have a good understanding of what you’ll be comfortable trading for it, then it’s smooth sailing.
One thing to keep in mind too. When people send you trades, they’re gonna see your numbers and there’s going to be many bad offers. It’s the double edged sword of collecting. Look to counter if you can but the reality is there’s going to be a lot of declined trades because they just may not know what you offer, or have the cards needed/wanted to make a counter happen. So make sure you post what you offer somewhere too, discord, reddit etc to help guide the successful trades.
And finally, try to keep a post for one of your cards up as often as possible in game. The more active, the better the results :)
As always, thank you for taking the time to read this novel lol. Always feel free to comment below if there’s any questions. I’ll do my best to respond. You can find me on the main discord server, link is in the sub description. Happy Trading and keep it Cue, see you in game!
Again, my apologies for the length. I’m trying to be as detailed and hit as many key points with these posts as possible while trying to keep it minimal.
Next time on Coaches Corner with WadeTheHeathen:
I’m going to delve a bit deeper into Trading, trade evaluations and card values! Hope to see you then!