Hexagon shape poem for kindergarten

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.
    

Hey everyone! Im looking for someone reliable and fast to make a Tinkercad 3d object for me using my account. It's super simple im just not good with tech stuff. Im creating something called the ShapeSorterBuddy for kindergarten students. This is not something that exists so let your imagination fly. These are my instructions for using the product, so please make it to be that it properly follows these directions! The ShapeSorter Buddy consists of a base with slots corresponding to different geometric shapes (circle, square, triangle, rectangle) and corresponding blocks of each shape. Students are instructed to match the blocks to their respective slots on the base. Teachers can incorporate various activities using the ShapeSorter Buddy, such as shape recognition games, sorting exercises, and even simple addition or subtraction by counting the shapes. Please help me out!!

If you Google: "Does mouthbreathing affect facial development?", all you get are articles confirming mouthbreathing does indeed unfavorably change the facial pattern of a growing person.
However, nobody in real life seems to take this seriously. If it's proven science, why doesn't it get taught in kindergartens, or don't GP's pay closer attention to it?
Also, if we cannot influence any other body part through external forces, how come the skull is the exception? Height is completely genetic, limb length and shape is completely genetic, doesn't it follow for the skull shape to be genetically predetermined, regardless of outside factors?

If you Google: "Does mouthbreathing affect facial development?", all you get are articles confirming mouthbreathing does indeed unfavorably change the facial pattern of a growing person.
However, nobody in real life seems to take this seriously. If it's proven science, why doesn't it get taught in kindergartens, or don't GP's pay closer attention to it?
Also, if we cannot influence any other body part through external forces, how come the skull is the exception? Height is completely genetic, limb length and shape is completely genetic, doesn't it follow for the skull shape to be genetically predetermined, regardless of outside factors?

If you Google: "Does mouthbreathing affect facial development?", all you get are articles confirming mouthbreathing does indeed unfavorably change the facial pattern of a growing person.
However, nobody in real life seems to take this seriously. If it's proven science, why doesn't it get taught in kindergartens, or don't GP's pay closer attention to it?
Also, if we cannot influence any other body part through external forces, how come the skull is the exception? Height is completely genetic, limb length and shape is completely genetic, doesn't it follow for the skull shape to be genetically predetermined, regardless of outside factors?

What's cool about Robinson's Mars Trilogy is how mundane the technology and vehicles are. Yes, they're awesome feats of engineering - some are staggeringly huge - but Stan always keeps them feeling grounded and plausible.
Here's our first introduction to the Mars Rovers in "Red Mars":

The expedition rovers were each composed of two four-wheeled modules, coupled by a flexible frame; they looked a bit like giant ants. They had been built by Rolls-Royce and a multinational aerospace consortium, and had a beautiful sea-green finish. The forward modules contained the living quarters and had tinted windows on all four sides; the aft modules contained the fuel tanks, and sported a number of black rotating solar panels. The eight wire-mesh wheels were two-and-a-half meters high, and very broad.

Later we learn that the rovers can drive themselves, have AI brains, can clear simple paths (rudimentary roads) for other vehicles to follow, and have modular attachments that allow them be outfitted to do different tasks.
But in the above quoted section, I like the simple detail about the rovers being green. There are no natural greens on Mars, and so for safety reasons a green rover would make sense. And what's interesting is that the novel mentions that all the crates and boxes dropped from orbit are similarly green. It's a little detail that the novel trusts the reader to pick up on:

As they crested a sand wave they spotted the drop, no more than two kilometers from the foot of the northwest ice wall: bulky lime-green containers on skeletal landing modules...

If anyone's interested, here's an album containing artist renditions of the novel's Mars rovers (click to enlarge): https://postimg.cc/gallery/xkjT1yP
And here's Stan's first description of a dirigible in "Red Mars":

Their dirigible was the biggest ever made, a planetary model built back in Germany by Friedrichshafen Noch Einmal, and shipped up in 2029, so that it had recently arrived. It was called the Arrowhead, and it measured 120 meters across the wings, a hundred meters front to back, and forty meters tall. It had an internal ultralite frame, and turboprops at each wingtip and under the gondola; these were driven by small plastic engines whose batteries were powered by solar cells arrayed on the upper surface of the bag. The pencil-shaped gondola extended most of the length of the underside, but it was smaller inside than Nadia had expected, because much of it was temporarily filled with their cargo; at takeoff their clear space consisted of nothing more than the cockpit, two narrow beds, a tiny kitchen, an even smaller toilet, and the crawlspace necessary to move along these.

Decades later, a mysterious tribal leader called Hiroko visits a crater base with her ancient dirigibles:

A string of three sand-colored dirigibles floated up the slope of the volcano. They were small and antiquated, and did not answer radio inquiries. By the time they had scraped over Zp's rim and anchored among the larger and more colorful dirigibles in the crater, everyone was waiting to hear from the observers at the lock who they might be.

She leaves as cryptically as she arrives:

They said good-bye to the dirigible crews, and the dirigibles drifted down the slope like balloons slipped from a child's fist; the sand-colored ones of the hidden colony quickly got very hard to see.

Here's a link to artwork featuring the novel's dirigibles (click to enlarge): https://postimg.cc/gallery/c6ssH11
And here's the first of several descriptions of the Ares, the ship that takes our heroes to Mars:

It looked like something made from a children's toy set, in which cylinders were attached at their ends to create more complex shapes- in this case, eight hexagons of connected cylinders, which they called toruses, lined up and speared down the middle by a central hub shaft made of a cluster of five lines of cylinders. The toruses were connected to the hub shaft by thin crawl spokes, and the resulting object looked somewhat like a piece of agricultural machinery, say the arm of a harvester combine, or a mobile sprinkler unit. Or like eight knobby doughnuts, Maya thought, toothpicked to a stick. Just the sort of thing a child would appreciate.

Here's a link to artwork featuring the Ares: https://postimg.cc/gallery/vV84wmw
The artwork on this post were largely taken from here: https://www.kimstanleyrobinson.info/content/art-corner-mars-trilogy, and are primarily by Frans Blok, Travis Smith, Ville Ericsson and William Bennett.

We’re still shopping around for a home but we live in a very HCOL area and only make about $153K combined. We have a young kid, still needs daycare full time.
I did the math for a mortgage payment, including taxes, HOI and utilities and it was almost $5k. We would be scraping the bottom of the barrel to afford this place, and have little money leftover for savings, food, gas, insurance, etc.
Is this normal? Am I missing something? If we leave our area, we’ll only make $90K combined in our industries, even just outside of the immediate area, and that’s terrifying because we still won’t be able to afford a home in a nice area. We’ll take any shape home at this point, we just need a decent school district for our kid.
It seems like our best option is to move an hour away from our jobs, which defeats the purpose of staying in our area. Or one of us will have to get a part time job working almost 40 hours a week.
I feel so defeated. Anyone else going through this?
ETA: I’m seeing a lot of similar comments so I’ll just save you guys some time - also thank you for letting me know how NOT alone we are in this. It’s insanity out there!

• We are OAD (one and done) with our kid; daycare is now 2x a week instead of 5x starting July 1 (saving us $668 month!)
  
• Commuting is NOT out of the question, but my spouse already works 30 minutes from home, so to move any further than where we are is really not in the cards.
  
• Our rent is $2575, our utilities are around $220 (we don’t leave lights on or aiheat on all day, but our unit is awful with circulating aiheat so we have to crank it when we get home).
  
• Technically, if we were to follow the 1/3 rule, we could only afford $2,896 as a mortgage payment and nothing in this area (even adding an hour commute) comes close to that. We would have to save another $100k, which we cannot.
  
• Our kid will be in kindergarten when they turn 6 (late birthday). So at least another 3.5 years of daycare, unless they get into UPK in our town. If not, 4.5 years.
  

Preschool education plays a pivotal role in shaping a child's cognitive, emotional, and social development. In the picturesque city of Dehradun, nestled in the foothills of the Himalayas, parents have an array of excellent preschools to choose from. Here's a curated list of the top 10 preschools in Dehradun, renowned for their commitment to nurturing young minds and preparing them for a bright future:

1. Little Woodian's : With a legacy of excellence in education, Little Woodian's provides a stimulating environment where children can explore, learn, and grow. Their curriculum focuses on holistic development, blending academics with co-curricular activities.
2. Welham Boys' School Kindergarten: Welham Boys' School Kindergarten offers a nurturing environment where boys are encouraged to express themselves creatively and intellectually. Their play-based approach to learning fosters curiosity and a love for exploration.
3. Welham Girls' School Pre-Primary Wing: Committed to empowering young girls, Welham Girls' School Pre-Primary Wing provides a safe and supportive environment for learning and growth. Their curriculum emphasizes character development and instills values of compassion and integrity.
4. Brightlands School Pre-Primary Section: Brightlands School's Pre-Primary Section is known for its innovative teaching methods and child-centric approach. They believe in fostering a love for learning from an early age, laying a strong foundation for future academic success.
5. The Asian School Early Years: The Asian School's Early Years program focuses on providing a nurturing environment where children can develop essential skills through play and exploration. Their curriculum is designed to stimulate curiosity and imagination.
6. Convent of Jesus and Mary Kindergarten: With a rich history of academic excellence, Convent of Jesus and Mary Kindergarten offers a nurturing environment where children can thrive emotionally, socially, and academically. Their curriculum promotes holistic development and encourages critical thinking.
7. Col. Brown Cambridge School Kindergarten: Col. Brown Cambridge School Kindergarten provides a vibrant learning environment where children are encouraged to explore their interests and talents. Their curriculum focuses on developing communication skills, creativity, and problem-solving abilities.
8. Tula's International School Early Years: Tula's International School Early Years program emphasizes experiential learning and hands-on activities to engage young learners. Their curriculum integrates academic learning with practical experiences to foster holistic development.
9. The Heritage School Pre-Primary Wing: The Heritage School's Pre-Primary Wing offers a stimulating environment where children are encouraged to inquire, explore, and discover. Their curriculum is designed to develop critical thinking skills, creativity, and emotional intelligence.
10. DPS Dehradun Kindergarten: DPS Dehradun Kindergarten provides a nurturing and inclusive environment where children feel valued and supported in their learning journey. Their curriculum focuses on holistic development, catering to the individual needs and interests of each child.

These preschools in Dehradun are not only focused on academic excellence but also on fostering a love for learning, creativity, and character development. By providing a nurturing and stimulating environment, they lay a strong foundation for a bright and successful future for every child.

Barron, Laird. “The Carrion Gods In Their Heaven.” The Beautiful Thing That Awaits Us All. Night Shade Books, 2013.

Characters:
Lorna – main protagonist, fleeing from her abusive husband with the help of Miranda, all sharp edges
Miranda – semi-retired artist, Lorna’s lover who gave her courage to leave her abusive husband, sweetly melancholy, placid, has a penchant for animals hides
Bruce – Lorna’s abusive husband
Orillia – Lorna’s daughter
Beth – stranger who knocks on the cabin door

Plot and Analysis:
A deceptively straightforward narrative, at least by Barron standards, that riffs on the Great Hunt and skinwalkers of myth: “Some Native American and First Nation legends talk about skin-walkers—people with the supernatural ability to turn into any animal they desire. To do so, however, they first must be wearing a pelt of the specific animal” (Wikipedia, “Therianthropy”). Funny enough, I live close the Skinwalker Ranch but have yet to see a skinwalker out and about, at least I think. My dog does look suspiciously like a coyote, though. The Hunt, on the other hand, is “a chase led by a mythological figure escorted by a ghostly or supernatural group of hunters engaged in pursuit” (“The Hunt,” Wikipedia). The hunt as outlined in Carrion Gods is of a different sort.

https://history.denverlibrary.org/news/skinwalkers-wendigos-and-witchery-way
The story begins with what I can’t help but think is an oblique reference to Wallace Stevens’ “Domination of Black” or maybe just a way to let the reader know it’s autumn: “The leaves were turning.” This poem is referenced again and again in his fiction, so any mention of leaves and/or fear, I’m always thinking of Stevens’ poem (the anxiety of influence haha). Like Barron’s fiction as a whole, Stevens’ poem has a deep sense of foreboding and impending doom.

Lorna, our protagonist, arrives at Poger Rock, population 190, and makes her way to Mooney’s tavern, the dais outfitted with a great black wolf. Upon a second reading, there are hints left and right of mongrel dogs, wolves, whipped dogs, and sleeping dogs (who lie), foreshadowing the bestial nature of the tale.

We learn that Lorna is staying at her lover, Miranda’s, hunting cabin, Haugstad (Norwegian surname; literal translation, heap place). Not only has she left her abusive husband, she is also on crutches, presumably from physical abuse, and is extremely suspicious, especially of the bartender who inquiries about her lodging: “Obviously, the hills have eyes.”

As Lorna gets acclimated to the cabin, she notices that Miranda sometimes leaves in the middle of the night. We learn that, close to the hunter’s blind, Miranda “finds” a wolf or coyote hide, shaped into a cape and cowl.
https://allthatsinteresting.com/skinwalker
As anyone would do, Miranda dons the cape and cowl: “Scandinavian legends say to wear the skin of a beast is to become the beast.” We come to learn about Haugstad, a Scandinavian legend, who was rumored to keep a bundle of hides in a storeroom that he donned to become “something other than man.” These hides are passed down to anyone who occupies the cabin, another circle motif used throughout Barron’s collections.

Eventually, Lorna asks “Why did you bring me here?” to which Miranda responds “you’re weak,” which begs the question, what makes Lorna weak? Is it the notion that to overcome her abusive marriage she needs to don a hide and go on the Hunt?

The story ends with Lorna donning the cape and presumably killing Miranda, the final act to overcome her weakness and to join the Hunt.

https://www.alehorn.com/blogs/alehorn-viking-blog/norse-mythology-the-wild-hunt
Discussion Questions:
1. Is introducing the hide to Lorna Miranda’s way of sacrificing herself out of love? Or is it merely to continue the Great Hunt?

2. One of the major themes of this story is the cycle of abuse. Does Lorna actually overcome her abuse or does the abused become the abusemonster?

3. I can’t help but think of Gerard Manley Hopkins’ “Carrion Comfort” in relation to Carrion Gods:
Not, I'll not, carrion comfort, Despair, not feast on thee;
Not untwist — slack they may be — these last strands of man
In me ór, most weary, cry I can no more. I can;
Can something, hope, wish day come, not choose not to be.
In the poem, the speaker aims to move beyond despair, to not seek comfort in death, to live; however, in Carrion Gods, Miranda, and eventually Lorna, don the hide and feast on unsuspecting hikers, seeking a type of comfort from their flesh (carrion comfort). Due to the graphic nature of Lorna’s final killings in the story, it would suggest that the “last strands of man” are no more; she has given herself up to the Hunt. The hide allows its wearer to move beyond life and death. How would you interpret this? Is there a kind of immortality granted by donning the hide? The hide continues to be worn, continuing the perpetual Hunt?

So every game of chess I have seen up until a certain point recently has been a standard game of chess with the standard configuration, objectives and rules.
That one point where I discovered there can be variations of the game was when I (as an educational assistant at an afterschool children's centre) was looking after a couple of kindergarten-age students playing with a chess set. For context, because chess is one of the more popular toys in the centre it gets played a lot and inevitably, pieces go missing and sometimes we buy replacement sets and pieces of those sets go missing (thankfully not swallowed or stuffed up a nose or something like that).
When the kindergarteners set up the chess set, they put the pieces at the end of the board like you do BUT they put whatever pieces we had in randomly e.g. a pawn or two would be at the back, the king was with the pawn, there were 2 queens on one side etc. Being the nice supervisor to these kids, I just left the game be instead of desperately trying to correct them.
What ended up happening was that the game being played was no longer about protecting the king (so no checks or checkmates), it was just about total annihilation of the opponent's pieces. However, the standard moves of the pieces still applied.
It was after we finished up the game that I looked up if that was a valid variation of chess to play - technically it wasn't but then I saw that indeed there were variations of chess that could be played with the pieces either swapped around or there being more than one of a piece or heck the board being different shape altogether. The closest variation to what I saw was called "Really Bad Chess" but it was a game made for mobile.
Also recently with a similar audience of school-aged children I've seen a game of "brain-hand chess" being played - the idea being that two people play, one is the "brain" that tells the other player the "hand" where to move the pieces.
I've never heard of these variations of chess being talked about by either people or in literature. So now I come to you online. What's a very unusual take of chess that you've played? Can be the variations talked about on Wikipedia ( https://en.wikipedia.org/wiki/List_of_chess_variants ) or maybe it's one that you or someone you know made up on the spot with its own house rules or something like that.

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.

I'm sorry it took so long for me to upload this. I am guilty of the sin of Sloth, and will have to take a little jog around the Fourth Cornice. Although it will actually be more of a waddle, because I'm also guilty of Gluttony.
Canto XVI
Struggling through the smoke of Wrath, Dante and Virgil meet a man named Marco Lombardo, who does the usual "holy shit, a living person!" thing that everyone in Purgatory does when they meet Dante. The two discuss the role of free will versus fate in determining a person's actions.
Canto XVII
Dante has visions of the Rein of Wrath. He sees Procne killing her son, Haman being crucified, and Amata's suicide. I have to quote Ciardi's notes directly, because the snark is amazing:

Enraged against Mordecai, Haman persuaded Ahasuerus to decree the death of all the Jews in Persia. A cross ... was especially prepared for Mordecai. Queen Esther, however, persuaded Ahasuerus of Haman's iniquity and the decree was canceled. Not to waste a perfectly good cross, or perhaps because he was confused by the number of people who were making up his mind for him, Ahasuerus had Haman crucified in Mordecai's place.

They continue on toward the Cornice of Sloth, but night falls and Dante has to stop to rest. While they rest, Virgil explains that Sloth, or Acedia), is the sin of not dedicating enough energy or focus on goodness. Note that Sloth is the "middle sin" in Purgatory. The three previous (Pride, Envy, and Wrath) are the result of too much self-focus, at the expense of others, while the next three (Avarice, Gluttony, and Lust) are the result of too much selfish desire for good things. Sloth differs from all of these in that it does not pursue bad, it simply doesn't pursue good. (My undying gratitude to John Ciardi's notes for explaining all this. Virgil himself went over my head.)
Canto XVIII
Virgil ends his lecture by stating that Beatrice will have to explain Free Will more fully to Dante, since there's a limit to what Virgil (representing Human Reason) can understand of it.
And now we meet the Slothful, who, in keeping with the ironic punishment theme, run and shout. The Whip of Sloth (that sounds like an oxymoron) cites Mary and Caesar as positive examples of zeal, while the Rein of Sloth presents examples of Sloth in the Israelites who would not follow Moses, and Aeneas' followers who stayed in Sicily.
Canto XIX
Dream sequence time! Dante dreams of a siren), luring him with her voice, but then a "heavenly lady" appears and exposes the siren for the hideous monster that she is. When Dante tells Virgil about the dream, he says that the souls in the levels above them weep because of the siren. (I could explain, but I'll make it a discussion question instead.)
Dante and Virgil meet the Angel of Zeal, allowing them to move on to the next level. (Four Ps down, 3 to go.) We enter the Cornice of Avarice, and meet Pope Adrian V. Dante bows to Adrian V, who chastises him for doing so. Here, he is no longer a pope, he is a soul like any other.
Canto XX
The Whip of Avarice praises the examples of Mary (who literally gave birth to Jesus in a stable), Fabricius, who refused bribes, and St. Nicholas, so famous for his philanthropy that my culture honors his memory by claiming he breaks into everyone's houses on Christmas Eve to give presents to children.
Dante has a long conversation with Hugh Capet, who gives Dante the full run-down of the Rein of Avarice, which consists of so many examples of Avarice that I'm too lazy to type them out, although I do want to point out, for anyone who was as confused as I was, that the Pygmalion referenced here isn't the statue guy.
Anyhow, this canto ends with an earthquake.
Canto XXI
*earthquake*
Dante: WTF was that?
Statius: That was my soul finishing its purification!
Virgil: Who are you?
Statius: I'm Statius! I'm from the first century, but I wish I was from Virgil's time, because I'm a huge Virgil fanboy!
Dante: *giggle*
Virgil: Dante, behave.
Statius: Virgil influenced all my poems! I love him!
Dante: *twitching uncontrollably*
Virgil: Dante, I swear I will send you back to the Inferno if you don't...
Dante: HE'S VIRGIL!!!
Statius: OMG OMG OMG I LOVE YOU CAN I HAVE YOUR AUTOGRAPH???
Virgil: *facepalm*
(Thank you to u/nopantstime, for inspiring me to write this.)
Canto XXII
Statius continues to fanboy. We learn that Virgil's poetry is what inspired him to convert to Christianity, so Virgil has literally saved him. He asks Virgil about his other favorite poets, and learns that Virgil hangs out with them in Limbo.
And then they encounter an enormous and oddly-shaped tree, covered in fruit. A voice from the tree forbids them from eating the fruit. That's right: it's Gluttony time!
Canto XXIII
Dante discovers starving people! OO I was confused by a reference to their faces looking like the word "OMO". o_O But then I read a note that explained it. ^^
There's a medieval legend that God designed man to look like "Omo Dei" ("Man is of God"). The eyes are the Os, the brows, nose, and cheekbones are the M, the ears are the D, the nostrils the E, and the mouth the I. Dante is saying that these people are so starved, you can actually see the M. ಠ_ಠ
They run into Dante's friend and in-law, Forese Donati. Forese's only been dead five years, but he's reached this level of Purgatory already, thanks to the prayers of his widow, Nella. He then goes on a rant about what sluts Florentine women are, and I am desperately resisting the temptation to make "Do you think Florentine women are sluts?" a discussion question.
Canto XXIV
Dante sees a bunch of dead people (I'm sorry, I'm very tired and this is the last canto for this week), one of whom makes a huge deal about how awesome Dante's poetry is. I'm reminded that Dante already knows he's going to end up on the Pride level when he dies. At least he's self-aware.
They find a second tree, providing the Rein of Gluttony which, fittingly, includes Eve, who ate from this tree's ancestor. The three then meet the Angel of Abstinence, who moves them on to the next level.

The game had real life waiting times for things like waiting a couple hours for something to be built, I remember the town you build is made out of hexagonal shapes for each sector ie: (hexagon wheat field hexagon quarry hexagon house) it had the 4 seasons autumn summer spring and winter and it had higher and lower levels meaning that in autumn tiles close to rivers and the sea can flood. You also could fight other lords and expand, the fighting style was like one army at the top screen mine at the bottom and you charge at each other, it had archers horseman everything you would expect for a medieval game. I have been looking for this game for ages I assumed it’s not playable anymore but I hope I’m wrong, I need that nostalgia right about now

A story inspired by WH40K (specifically the good books aka anything penned by Dan Abnett), Halo (back when it had an actual plot) Starship Troopers and the philosophical writings of Karl Jung (who has always been good)
--Synopsis--
In the galaxy-spanning Empire of the Lyken race, pure tranquility has been achieved. Under the guidance of their esteemed leaders and prophets, known only as The Empaths, the Lyken have secured a lasting coalition between all known species of the galaxy under their religion known only as 'The Path', and are currently embarking on their next crusade to bring the light of their benevolent rule to the rest of the stars. This war Restoration, however, has been put in jeopardy by the arrival of a particularly troublesome new species: Homo Sapiens.
Lokan Kathos Ikson, a soldier in the army of the 5th Restoration Fleet, finds himself suddenly thrust into the forefront of this conflict that has him questioning the civilization he knows and loves as well as his faith in himself. In a war where the lines between aggressor and defender seem to be increasingly blurring, Kathos will discover a secret that could change not only the outcome of this conflict, but the fate of the universe itself.
[Dramatis Personnae]

The Fifth Restoration Fleet

~Fleet Command~
Resarion Xotyl – Empath, Fleet Overseer
Akageme Itnosis – Fleet Sheloth

~The 15^th Harmonizer Division, Squad Sigma~
Gemor Boreallis – Osirion
Kathos Ikson – Lokan first class
Sekris Aumenar – Lokan first class
Malik Nostrom – Lokan second class

~The 1^st Fabricator Division~
Mishka Metsumi – Koveth
Gor’Karliah – Lokan first class
Mor’tarlok – Lokan first class

Homeworld Civilians
Kithis Niketa
Tavek Millieus
Dreksis Aurelia - Keeper, Kindergarten #403

Homo sapiens
Emmanuel August – Commander-in-Chief, A.C.D.F
Sasha Daniels – Sergeant, A.C.D.F
Joshua Graham – Designation Classified
---Chapter 1: Contact---
Think of darkness.
The most empty void imaginable.
Your only companion is the sound of your quiet, fragmented breathing. And the uncontrollable shaking of your hands.
You’re hurtling through space.
Strapped inside a pod that’s been spewed from the ship which, only moments ago, made you feel so secure.
Keep your eyes straight. Focus on the darkness that surrounds you. Know that it is both the beginning and the end.
I thanked the Meshen pod quickly for its mantra intended to inspire, though its words did little to dissuade me from my peril. Suddenly I felt my weight shift, a sign of my pod’s safety maneuvers to stabilize itself against atmospheric pressure. For a moment I felt a pang of regret for the creature that was delivering me to an almost certain death. But it was only for a moment.
After a while, you can pinpoint the exact instant your Meshen pod hits a planet’s atmosphere. The heat around you starts to burn away at your suit, the internal pressure of the chamber starts to constrict – and you become acutely aware that it’s a living, breathing organism you’re encased in. It will take the pain of their artillery, sacrificing itself for the good of the warrior it harbors within. Before an assault even begins, you know already that you have a duty to a being besides yourself for your continued existence.
You are reminded that The Path is right and good so that, if necessary, you can die for it.
My slow, mute descent was abruptly halted and the reality of the situation opened to my consciousness as the hatch of the pod exploded and flew away. As my visor adjusted to my new surroundings, the firing started.
Contact! was bellowed through the squad Transmission. As I felt bullets whizz past the shell I was encased in I could make out only transitory images of the verdant green field that had opened out before me and the surrounding darkness of the night sky. Tendril –like fauna climbed towards the clouds that we had just burst through and from behind their thick stalks I could make out shadowy shapes barking in a vicious, guttural language and pointing their metallic-grey long barreled rifles at me.
I started to regain my composure as my shell released its combat stimulants into my bloodstream. Instinct took over. My Tranq rifle appeared in front of me as though possessed and began to vomit its pale, sinuous innards at the targets. I saw one of them fall, then I quickly engaged my suit thrusters and leaped forward to strike another one of the creatures across its face with my open gauntlet. As it fell to the ground it twitched only for an instant before its form stiffened, paralyzed. I heard more of the figures encased in their bulky suits of onyx fall before the rest of the squad. The long thin lines their Tranq shots cut through the air afforded a momentary glimmer of light in the darkness of the valley in which, to my surprise, we had successfully made landfall. The muffled screams of the resistance we’d met couldn’t have been heard by anyone more than a mile away and, to our knowledge, their sensory systems still had no means with which to detect an assault drop by Meshen pod. As the last black form before me fell to the ground, trapped in stasis, I allowed myself a moment to comprehend the sheer luck of it all.
We had arrived.
I quickly Transmitted to the rest of the squad as my visor’s holographic sensors updated its readout of the valley floor. To the top right of my field of vision a small three dimensional image sputtered into view, spinning 360 degrees. The image then zoomed out to reveal a small arrow that marked our position and then traced a line on the tiny map of the valley that was being updated with every breath we took on this alien world. That line was our recommended route to our destination.
‘Lokan’, Osiron Gemor transmitted in a voice that reverberated off the walls of my brain like a tremor. ‘Regroup on me at coordinates X-20 Y-743.’ The tiny map quickly pinpointed this position for our convenience.
‘Lokan Sekris acknlowedges, my Osiron,’ boomed a voice from within my consciousness.
‘Lokan Malik acknowledges, my Osiron’, came another, lighter but much more tense.
After a brief period of silence that dragged on for what seemed like an eternity, I realized the final response was to be my own.
‘Lokan Kathos acknowledges, my Osiron,’ I hastily transmitted. ‘No drop casualties to report. Now calling for Cradle uplift of fallen targets.’
I nodded, more to myself than anyone else, and began brushing through the crisp foliage, crouched low in anticipation for any more sentries. We’d been reminded before the drop that a night operation like this wasn’t likely to meet much resistance – especially not from the local population. Fleet knew that Alphus didn’t have a chance at posing a significant threat to the rest of the campaign. As far as Sheloth Akagame was concerned, the Restoration of Alphus was in its end-stages.
The question was: did the humans living here know that?
I checked the flickering indicator and noted Osiron Gemor’s position – about two clicks North of where I landed on one of the mountains overlooking the valley floor. My suit’s sensory readout conveyed no heat signatures within the immediate radius. All I could see was the lush vegetation that stretched on for miles and then abruptly halted at the edge of the mountain. It fell off into a river that spanned the gap between our squads landing point on ‘Mount A’ and Osiron Malthus’ position on ‘Mount B’. As I ran I was aware of no sound but that of the rustling leaves as they grazed my suit and the calm stillness of the water below. Evidently the valley was devoid of any nocturnal life.
Eventually I came to the mountaintop’s edge and crouched low, hidden by long stalks of swaying grass that were being gently nudged by an ethereal wind suddenly blowing through the valley.
I waited.
I took the time to check the sensory readout again – a blaze of scarlet sweeping over the whole mountainside and then stuttering away, revealing nothing. I checked it again to be sure. Nothing.
I peered out from my position to take at look at what was nestled below, on the valley floor, on either side of the winding river. Perhaps 60, no, at least 100 concrete blocks. Tiled roofs. Windows. Stone paths that connected them. Bridges that stretched across the river. Trees dotted here and there throughout – the parts of the forestation that had not been completely removed from the area in which they had chosen to dwell. The heart of the valley they had carved out for themselves by right of conquest and by right of technological superiority. They had destroyed the trees and reshaped the land. The river they had harnessed to power their homes, and to ferry their troops.
The infrared readout on my visor showed me the little dots of blurred red that moved around outside or lay indoors, their forms hazy and shimmering. They were alive. They were right down there.
It was a town.
Our objective.
Suddenly a hand grabbed my shoulder. I spun round, dropping the Tranq and readying my gauntlet to discover it was only Sekris, and you could tell he was grinning away from under his visor.
‘Caught you off guard, eh, my Kymore*?’ Sekris chuckled, as he and Garthur formed up on the ridge of the mountain. Their silent laughter produced a raspy, ghostlike echo in the Transmission.
I laughed with them, if only to keep the tension at bay. ‘Your talents always did lie in sneaking around, Sekris’, I grinned. ‘Malik, be sure to check your rations back on board the Lumera, you never know what this master of stealth has made off with.’
More chuckling, tempered by Sekris’ temporarily hurt pride. ‘Kathos, just because you pissed your pants, it doesn’t give you the right to hurl insults,’ he said, wiping a tear from his visor in pantomime.
‘I would recommend you remain cloaked, Sekris,’ Malik piped up from beside us, crouching down and scanning the field with his scoped rifle. ‘There may be snipers within the village on lookout.’
‘Pfft!’ Sekris scoffed. ‘Too much negative energy from you, Malik. Where is your confidence in me, your most beloved Kymore?’ He blew him a mock kiss, to which Malik simply shook his head.
‘What?’ Sekris kept on with it. ‘Is this the wrong time for romance?’
The presence of our last team member suddenly became known to us. We shifted round to see our Osiron towering above us. Even crouched down, she was a sight to behold. A titan of a Lyken – her name ‘Gemor’ itself suggested as much, being an ancient word adapted from the Klethtonen after their Restoration to The Path. Loosely translated, it meant ‘One who rises.’
‘The greenest of the green,’ she said, probably grinning from inside her helmet. ‘Sheloth Akagame must think me a worker of miracles if he expects me to make real Lokan of you.’
‘Osiron! You wound us!’ Sekris merely laughed in response. ‘With Malik’s eye, my brains, and Kathos’ aptitude for pointing his rifle in the general direction of things that move, our enemies stand no chance!’
Amid more laughter from us, Gemor only shook her massive skull. Eventually we subsided into silence and waited in trepidation for Malthus’ squad. I could feel the cold night air of Alphus biting at my skin again, and in a way I was thankful for the darkness just as I was thankful for Sekris’ dry humour. The cloak of night was an extra promise of safety, and even encased in the bulwark that was my suit – the very pinnacle of the armourer’s craft on Homeworld, and the most exquisite melding of form and function known to Lyken military engineering – I still felt naked. An alien on an alien world fighting against a race I still felt ill equipped to face. Even as we were told it was in its death-throes.
How’s your humour, Kathos? Gemor’s voce whispered in my mind, quiet even though it was safely burrowed within my own conscience.
I looked at the others, then back at Gemor, and I smiled. She must have known my hesitation. This was a private Transmission. Either my fellow Kymore didn’t hear it, or she was pursuing, simultaneously, her own conversations with them inside their own minds. I wouldn’t put it past our commander.
I’m holding steady, thank you, my Osiron, I replied.
She nodded. What is your drop number, Lokan?
This will be my eighth, my Osiron, I replied*.* Then I added, putting a lighter inflection on my Transmission, I am told it gets better with time.
Is that so? Gemor’s voice remained hard, stern. Which part specifically?
I could have been honest.
The fear, I lied.
Gemor seemed to understand that. Yet still her voice was grave. A reminder of the reality we all volunteered for.
Better? I don’t know about that, she said. Would it be better if we did this without fear, without thinking? She paused, as our suit readouts displayed the heat signatures of Malthus’ squad appear on the ridge of the opposite mountain.
Hold on to that fear, Kathos, Gemor transmitted as she waved to her fellow Osiron. That fear will keep you alive.
He severed our link, and then opened up the squad general Transmission once more. We all faced forward as he spoke, Tranq rifles trained on the village below.
A recap of the briefing, Lokan, Gemor intoned. For those of you who may have ‘missed’ certain details on board the ship.
I knew Sekris was smiling beside me.
From intercepted Comm. transmissions we know that the settlement below is designated as ‘Henshu’. Primarily an agricultural base, Henshu also serves as a vital logistic position for the Alphusarians. From data recorded by our Wayfinder drones in the area, it is known that the enemy have been moving troops and supplies to and from the last resisting Capital of Alphus’ Western Hemisphere, Kodakis, for the past seven months. Electromagnetic carpet scanning of the area from orbit has also revealed several stockpiles of ballistic devices that have been employed by the enemy in greater quantities these last months – primarily projectile rifles and explosives. The greatest concentration of these weapons has been located in a silo on the Western bank of the river that cuts through the village. But we can also assume that housing throughout the settlement contains concealed weaponry of the same caliber.
On each of our visor map readouts the village was highlighted, enlarged, and key positions marked for us as Gemor pointed them out. Most notably the silo on our side of the river and several houses throughout the village were marked as containing explosives.
The highest concentration of troop support the enemy maintains here can be seen on the river’s Eastern bank. Around 30 moving targets were now highlighted on our screens. I breathed a sigh of relief as, thankfully, it seemed Malthus’ squad would be primarily dealing with them.
Let me put this in context, Lokan: Henshu must be neutralized so that Sheloth Akagame’s encirclement of the Capital can be completed. Cutting them off from their final pool of resources will lead to stagnated resistance attempts and effectively provoke the enemy’s surrender. They will be receiving no munitions, no food, and no communication with the outside world – and the starved predator quickly yields to its captor.
To this end, our primary objectives are thus: My squad stationed on Mount A will advance towards the weapons silo and contain it. Osiron Malthus’ squad will simultaneously advance at pace from their position on Mount B and neutralise all hostiles on their side of the bridge. Each group will clear each building they come to as they make their advance – Cradle uplift of both civilians and soldiers are ready and waiting.
Gemor paused as we digested her orders.
This is an urban combat situation, Lokan. Though Malthus will take the brunt of the defenders’ firepower, expect some resistance on our side of the bridge. Remember – humans like to conceal weapons. That’s their way.
We each nodded our assent, though I was only listening in part - far too intent on beginning. I looked over every one of those buildings and realised that soon, we would be inside each one. Soon I would see the faces that I couldn’t stand. I would see the faces I hated again.
The darkness, Kathos. I said to myself. Over and over. It was becoming mechanical. It was becoming a separate piece of me that awakened before any assault and whispered in my ears, stronger than any Transmission I’d ever felt. Be the Darkness. There is only Darkness. Then, you can’t see their faces. In the Darkness you can live.
Gemor stood, cutting off her Transmission and motioning to us to proceed.
‘May The Path guide us, my Kymore,’ she said.
Then the running began.
*Kymore. Noun. The closest human approximation of this common Lyken phrase would be 'comrade', but with a more familial edge. 'Kymore' is a word that is used for both family and friends interchangeably. It is an almost subconscious marker of basic respect in the Lyken language.
Thanks for reading. Note: the following chapters of this story should be considered proof of concept only. I am interested in feedback on this but will be focusing on my other works before committing to this story fully.

It came to us as a dream, but it was a nightmare. One we couldn't resist.
Appearing in orbit first in a spaceship that dwarfed anything humanity had seen.
Our astronauts that were sent up reported advanced technology, mysterious shapes resembling art and then.. then all we heard was their ecstatic mumbles, then speeches of lyrical potency that we'd never heard before. Poems so achingly beautiful that you'd begin to cry at the first sentence. One of them sang a song that crippled most of our science team for hours. We were huddled in fetal positions, laughing, crying, loving, orgasming in how incredible it was.
Then we heard the screams, but we were so far into our own infatuation that we didn't pay it any mind. When we came to several hours later on the second day, we got up and assessed the status of the astronauts. Readouts confirmed they were all dead.
We wanted to suppress it. Steeling ourselves, we all fought the almost pathological need to share the beauty that we'd heard. When the pictures of the mind-numbingly beautiful golden and black interior came back, we all felt compelled to go up there. But we recognized it for what it was, death in disguise. Almost all of us made it, until one couldn't take it and repeated to himself the phrases that were all reverberating in our souls in front of the inquisitive media.
The governments all went rabid. They had to send more people and in the process, several fights broke out in orbit. After some deliberation, they all sensibly (foolishly) agreed they would enter in order of arrival. Of course, all of us were debriefed and put on sick leave, which was ironic because there wasn't anything wrong with any of us. If anything, the problem was that there was something right with us, something too right, too harmonious, too...
Too perfect.
* * * * *
It's been two weeks since I wrote the above sentence. It sparked a remembrance of how things were and caused me to go into some sort of feedback loop where... I can't speak of it. It's too much, I'm sorry. But yes. They all went in, and they sent back hundreds, thousands of pictures of what we think was art, paintings maybe, murals? Where do you draw the line between anything? There were poems, there was texts, stories, songs, entire rooms created just to take your breath away.
I heard descriptions of a room that was mostly dark except for the stars shining through big windows. In the center of the room was an intricate crystal that was apparently so beautiful that most people who passed by the room went inside and just ended up sitting there in silence until they died. They didn't want anything else than to keep experiencing that beauty until they no longer could.
It's very difficult to write about the specifics of any of this, because the moment I start recollecting my own memories and how it felt and how I felt and how I was, I start becoming like that too. I've always had a terrible memory for details and fortunately, now, that's helping me out for once.
* * * * *
It's been six months now since the arrival of the ship. All governments have agreed to jam all of the signals coming from it and instituted blockades. I'm attached to a project where we're using a selective kind of cocktail of drugs and neural modifiers to render a person "blank" which is to say that they will respond and follow orders, but at the same time, they won't feel or associate or think creatively. I don't understand the actual medical science behind it, but as I was one of the first team members to experience the phenomenon, I'm acting as a consultant.
I feel like I'm betraying something bigger than humanity, bigger than god, bigger than consciousness while trying to eradicate this from the world. But we must do something because our society is falling apart because of this. It doesn't matter what we do towards the ship, it seems like it's here to stay. Firing our biggest, most destructive weapons at it did nothing. Pleading with it didn't work. It just fucking SITS there in orbit. WHY? WHY?!
* * * * *
I'm crying as I'm trying to type this. I feel such... I don't know what I'm feeling. Sadness? Rejection? Happiness? Relief? Hatred? I have this big thing in my mind and I can't get it out. But I'm crying.
It's over. The ship was there one moment and gone the next. At first, we thought it had somehow become invisible because of how instantaneous it was. But no, it did leave something behind.
We sent our blanks up into orbit to retrieve all the bodies. All in all, we lost close to 600 people to that ship. No, not the ship itself really, I can't tell you because I've trained myself not to go into those lines of thought that trigger another episode.
We burnt the bodies and sealed away all the items they had on them. Maybe one day humanity will be able to deal with something like this again.
But for now, we'll all choose to forget.
The box has been opened though.
They want to turn all of us into blanks now.

It came to us as a dream, but it was a nightmare. One we couldn't resist.
Appearing in orbit first in a spaceship that dwarfed anything humanity had seen.
Our astronauts that were sent up reported advanced technology, mysterious shapes resembling art and then.. then all we heard was their ecstatic mumbles, then speeches of lyrical potency that we'd never heard before. Poems so achingly beautiful that you'd begin to cry at the first sentence. One of them sang a song that crippled most of our science team for hours. We were huddled in fetal positions, laughing, crying, loving, orgasming in how incredible it was.
Then we heard the screams, but we were so far into our own infatuation that we didn't pay it any mind. When we came to several hours later on the second day, we got up and assessed the status of the astronauts. Readouts confirmed they were all dead.
We wanted to suppress it. Steeling ourselves, we all fought the almost pathological need to share the beauty that we'd heard. When the pictures of the mind-numbingly beautiful golden and black interior came back, we all felt compelled to go up there. But we recognized it for what it was, death in disguise. Almost all of us made it, until one couldn't take it and repeated to himself the phrases that were all reverberating in our souls in front of the inquisitive media.
The governments all went rabid. They had to send more people and in the process, several fights broke out in orbit. After some deliberation, they all sensibly (foolishly) agreed they would enter in order of arrival. Of course, all of us were debriefed and put on sick leave, which was ironic because there wasn't anything wrong with any of us. If anything, the problem was that there was something right with us, something too right, too harmonious, too...
Too perfect.
* * * * *
It's been two weeks since I wrote the above sentence. It sparked a remembrance of how things were and caused me to go into some sort of feedback loop where... I can't speak of it. It's too much, I'm sorry. But yes. They all went in, and they sent back hundreds, thousands of pictures of what we think was art, paintings maybe, murals? Where do you draw the line between anything? There were poems, there was texts, stories, songs, entire rooms created just to take your breath away.
I heard descriptions of a room that was mostly dark except for the stars shining through big windows. In the center of the room was an intricate crystal that was apparently so beautiful that most people who passed by the room went inside and just ended up sitting there in silence until they died. They didn't want anything else than to keep experiencing that beauty until they no longer could.
It's very difficult to write about the specifics of any of this, because the moment I start recollecting my own memories and how it felt and how I felt and how I was, I start becoming like that too. I've always had a terrible memory for details and fortunately, now, that's helping me out for once.
* * * * *
It's been six months now since the arrival of the ship. All governments have agreed to jam all of the signals coming from it and instituted blockades. I'm attached to a project where we're using a selective kind of cocktail of drugs and neural modifiers to render a person "blank" which is to say that they will respond and follow orders, but at the same time, they won't feel or associate or think creatively. I don't understand the actual medical science behind it, but as I was one of the first team members to experience the phenomenon, I'm acting as a consultant.
I feel like I'm betraying something bigger than humanity, bigger than god, bigger than consciousness while trying to eradicate this from the world. But we must do something because our society is falling apart because of this. It doesn't matter what we do towards the ship, it seems like it's here to stay. Firing our biggest, most destructive weapons at it did nothing. Pleading with it didn't work. It just fucking SITS there in orbit. WHY? WHY?!
* * * * *
I'm crying as I'm trying to type this. I feel such... I don't know what I'm feeling. Sadness? Rejection? Happiness? Relief? Hatred? I have this big thing in my mind and I can't get it out. But I'm crying.
It's over. The ship was there one moment and gone the next. At first, we thought it had somehow become invisible because of how instantaneous it was. But no, it did leave something behind.
We sent our blanks up into orbit to retrieve all the bodies. All in all, we lost close to 600 people to that ship. No, not the ship itself really, I can't tell you because I've trained myself not to go into those lines of thought that trigger another episode.
We burnt the bodies and sealed away all the items they had on them. Maybe one day humanity will be able to deal with something like this again.
But for now, we'll all choose to forget.
The box has been opened though.
They want to turn all of us into blanks now.