I went through a journey during the past six months that helped me explore a part of myself that I did not know. I feel that I have changed radically since I started following it (I am 17, but I feel that I have become more mature than other adults).
At first I didn't know about Grimes, but I was an obsessive, worshipful Elon Musk fan, interested in his daily habits like working 12 hours and sleeping 7 hours a day (which he lied about), and I stuck my nose into his personal life (like an obsessive K-Pop fan ), I found that most of his previous women were attractive (blonde and very traditional attractiveness) except for Grimes, who I found ugly and witch-like in their first appearance on the Met Gala, so I decided to search for her more (and it was the best work I did in my life), I was I was worried about this woman. I felt that she was a Freemason and belonged to the Illuminati (because of her strange clothes and her album covers) or that she was a witch and cast black magic spells in her songs to enchant her audience and kill them, and I was very afraid.
I had a strange feeling for her and went to her YouTube channel and listened to Oblivion and it seemed like a bad and ugly song the first time (I mean, my taste is bad) and I said to myself that I would never listen to any of her songs again since Oblivion was the most viewed song and I didn't like it (my view was superficial and ridiculous), I went to reddit and found that her fans were praising her playing. I was amazed to know that she produces her own music and melodies unlike other pop stars like Selena or Taylor. I listened to Oblivion again and this time focused on the vocal tracks and Then I listened to Genesis and it sounded like a fortune teller or something like that. I then listened to all of her songs and went to translate them. I was amazed that they did not contain the words of a prostitute girl and cursing, and she rarely sings about love. I was interested in her from that moment on and it went. To watch all of her interviews she seemed so spontaneous and unconventional. I loved that she expressed her political opinions even on unrelated topics (like her talk about challenging societal norms of diet and weight and her controversial talk about being a vegetarian and eating hot dogs). Teens and Kids benefit from interviewing her (even about preferences) unlike other celebrities whose interviews are mostly a waste of time.
I stopped by to watch her other interview with Lex Friedman, found it helpful except for a few points (I wrote down every word she said in the interview in a notebook) and bought those books she recommended like the "Culture Series" and even watched the anime "Totoro" which she recommended for kids. I used to watch podcasts about famous singers and almost the same thing is repeated by most of them and there is no value learned, but for me every interview with Grimes is a big change for my personality.
I finished all of her interviews and went to follow all of her accounts, and I was surprised that she responded to comments (such as her response to a comment about makeup) because I was accustomed to the culture of celebrities who leave thousands of comments without responding. I also compared the comments, as the comments of celebrities are frequent (such as: I love you (You're beautiful, you're sexy, heart and rose emojis...) and the comments on the grimes account are full of mature and creative people and I loved her interactions with fans and the awkward things like her talking to the grimes AI (which they designed to be immortal grimes...), and her tweets Regarding preferences about anime and manga, and her crazy looks that show her asymmetrical artistic body, her embarrassing interviews, and her big nose, all the way to her foolish and controversial opinions, although I do not like many of the stupid things that she says, but I love her frank personality without apology, she says Things she knows lead to her being hated, unlike other stars who flatter and pretend to be nice and kind to get as many obsessed fans as possible.
I've changed a lot during the 6 months I spent looking at anything related to grimes. I've become more confident in myself. Well, I hate something called self-confidence. I'll replace it with: "I've become more embarrassed." I used to be shy about revealing that I'm an otaku, and now I am... I became more frank and more open to declaring the world I had created inside my imagination - Vikings, cards, and science fiction. I became less anxious and considered my very thin, asymmetrical yellow body to be an unconventional standard of beauty. I became open to different cultures, ancient civilizations, and ancient poetry. And history, and I invented unique hair colors instead of blonde, and made my body and face a guinea pig for crazy tricks with liquid eyeliner. They also became more accepting of my damned embarrassing personality instead of searching for silly videos about increasing self-confidence and a strong personality that attracts men. I was obsessed with Elon Musk, but after I learned about his crazy relationship with Grimes, I learned that he is just a fat, narcissistic, sadistic child, and billionaires should not be taken as an example.
I'm not a huge fan of grimes but she is an interesting person and anyone who is trapped in the shell of being obsessed with Taylor Swift (but not limited to) should know about grimes

Starset has got to have some of the most intellectual and poetic lyrics I've ever heard from any band. Honestly, if you listen to a good amount of their songs, it begins to become apparent, but I want to highlight the BEST example.
Other Worlds Than These, Verse 2:
"Closed up minds are hearty seeds, So plant yourself a gallows tree."
This one is long, so bare with me. A 'hearty seed' is the same thing as a 'potent seed', meaning that this seed is very effective, and "closed up minds are hearty seeds", so a Closed Mind is a Potent Seed.
A gallows tree is what a tree that was used to hang people in execution is referred to as. If a Closed Mind is a Hearty Seed, and you're planting a Gallows tree, then you are causing your own demise by being closed minded.
"Bury your head so you won't see, The truth you hide is the truth you seek."
When you bury your head (your closed mind, aka, the hearty seed), you are sealing yourself off from the perception of what is truly around you. And in your attempt to find a solution, while being closed minded, you are blinding yourself to the answer, while simultaneously "planting the seed".
"Feed it fiction and lies, Oh how it grows, The roots are all shallow."
If you feed this metaphorical seed "fiction and lies", then as this "closed mind" develops, the "roots will be shallow", implying that your thoughts can only be surface-level, because they are based on a false reality.
"Hide yourself up inside. And on it goes, Reaping from the cell you sow."
To "reap what you sow" means to face the consequences of your own actions. So by hiding yourself inside the "cell you sow", you are forced to face the consequences of closing your mind off to the truth, and becoming a prisoner in your own mind.
PHEW, that was a lot. But god damn, that is one of the deepest lines I have ever heard in a song EVER, and it truly reads like poetry. This quality of writing is on a complete other level from the type of songs that I hear on the radio and what is most popular, and I WISH lyrics out there were as beautiful and creative as these.
I think what really sets lyrics like these apart, is there are MILLIONS of ways to say these things in much less interesting ways. But they went out of their way to create a creative way to write a common narrative, and it proves how far they're willing to go to write good songs.
Thank you all for reading, and please share your thoughts in the comments. I'd love to hear what you think of this.

Game Information

Game Title: Senua's Saga: Hellblade II
Platforms:

• Xbox Series X/S (May 21, 2024)
• PC (May 21, 2024)

Trailers:

• Senua’s Saga: Hellblade II – Official Trailer The Game Awards 2023
• Senua's Saga: Hellblade II - The Senua Trailer Xbox Games Showcase 2023

Developer: Ninja Theory
Publisher: Xbox Game Studios
Review Aggregator:
OpenCritic - 84 average - 86% recommended - 55 reviews
MetaCritic - 81 average - 34 reviews

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

Few games in recent times have been able to do what Senua's Saga: Hellblade 2 has done: make me feel so engaged and immersed that I wish the feeling would never stop. It is a game that will keep you in constant awe throughout the playtime with its fantastic and mysterious story, incredible graphic and sound presentation and realistic and brutal combat that will keep you on the edge of your seat the entire time.

But Why Tho? - Mick Abrahamson - 7.5 / 10

Senua’s Saga: Hellblade II won’t be for everyone. But if you are looking for a brutal continuation of a fantastic story that feels like you’re actually playing a movie, you’ll have a great time here.

CGMagazine - Justin Wood - 7 / 10

Senua's Saga: Hellblade 2 starts incredibly strong in the first half, but after certain revelations, the story speeds up to a point where the conclusion feels rushed and half-baked.

COGconnected - Mark Steighner - 95 / 100

It has been a very long time since I played a game as assured, polished, and emotionally affecting as Senua’s Saga: Hellblade 2.

Cerealkillerz - Steve Brieller - German - 7.9 / 10

If you expect an immersive but not so interactive “game”, Senua’s Saga Hellblade II delivers a short yet intense experience. Ninja Theory has once again skillfully created an impressive atmosphere, as they did in Senua’s Sacrifice. Unfortunately, the issues remain as well: Puzzles and combat are too easy and there is no variety in either. So please keep in mind, that this is more a Hellblade 1.5 than a true sequel.

Checkpoint Gaming - Charlie Kelly - 10 / 10

Senua's Saga: Hellblade II is well worth the wait and is a serious game of the year contender. Senua's follow-up journey is the best exploration of mental health that we've seen in games to date, using incredibly striking visual imagery, metaphors and immersive soundscapes to have you feel right there next to her. In what has to be the most photo-realistic game of all time, you're guaranteed to be constantly taken by the hero's adventure as you take in the beautiful and often haunting Viking Iceland. Through mud and dirt, blood and bones, Senua and Ninja Theory in turn bare all to you, the player. A masterpiece, benchmark and magnum opus, Hellblade II is crucial storytelling you won't soon forget.

Console Creatures - Patrick Tremblay - Recommended

With Senua's Saga: Hellblade 2, Ninja Theory shows that video games can be more than simple entertainment: they can be profound artistic and emotional explorations, capable of touching and transforming those who play them. This is an unforgettable journey into the heart of Iceland's darkness, where every step of Senua is a step towards self-discovery.

Digital Trends - Tomas Franzese - 4 / 5

Senua's Saga: Hellblade 2 is a visual stunner for Xbox even if its gameplay isn't too creative.

Echo Boomer - David Fialho - Portuguese - Essential

Ninja Theory has finally delivered the long-awaited and provocative sequel to Hellblade, with one of the most impressive interactive cinematic experiences of the generation, which makes you question what is real and leaves you dreaming of the graphic potential of future games still on current consoles.

Enternity.gr - Christos Chatzisavvas - Greek - 9.5 / 10

With Senua's Saga: Hellblade II, Ninja Theory builds the game it dreamed of, creating a title on a larger scale than any other.

Eurogamer - Johnny Chiodini - 5 / 5

Hellblade 2 continues Senua's story with grace, confidence, surprising brutality and thundering conviction.

GAMES.CH - Olaf Bleich - German - 89%

The game sucks you skin and hair into its fantasy world and creates such an intense bond with the characters and their stories that you want to know at every second how the adventure ends.

Game Informer - Marcus Stewart - 9 / 10

Senua’s Saga: Hellblade II’s conclusion ends on another strong note, and despite my initial reservations about continuing Senua’s story, I walked away happy to see her conquer new monsters, both literal and metaphorical.

GameSpot - Jess Cogswell - 6 / 10

Hellblade 2 is perhaps the most visually remarkable Xbox title to date, but is ultimately undermined by its emphasis on fidelity over story and gameplay.

GamingTrend - Cassie Peterson - 95 / 100

Senua's Saga: Hellblade II is a stunning and immersive storytelling experience that really puts the player into the mind of its titular character. It's even more narratively-focused than the first game (not to its detriment), with a bigger emphasis on how Senua sees and interacts with the world around her. The whole experience from start to finish has been beyond memorable.

Generación Xbox - Pedro del Pozo - Spanish - 9.3 / 10

Ninja Theory manages to place Senua in the Olympus of videogames with the most visually and sonorously powerful game we have seen so far. A spectacular, stunning and awe-inspiring journey.

IGN - Tristan Ogilvie - 8 / 10

Senua’s Saga: Hellblade II is another Viking-worthy feast for the senses that meets the high bar set by its predecessor, even if it never really manages to clear it.

INVEN - Soojin Kim - Korean - 8.5 / 10

The game's high level of immersion makes you want to play it from start to finish in one sitting. With outstanding audiovisual presentation and effects, it gives the feeling that you're playing a movie, not watching it. However, the gameplay elements, such as combat and puzzles, still lack significant meaning, which leads to rather disappoint feelings.

Kakuchopurei - Jonathan Leo - 80 / 100

While the story & gameplay's broad strokes might be familiar, Senua's Saga: Hellblade 2's execution, perspective, and overall production values are just stellar and highlights Ninja Theory's strengths in delivering what it does best: story-heavy cinematic gaming. The characters are fleshed out and well-written, with proper focus on your main character and her turmoils that carry over from the first game, the fighting feels weighty and challenging without being completely frustrating, and the HUD-less approach to presentation is welcome.

Kotaku - Claire Jackson - Unscored

A spellbinding meditation on anguish and compassion, Hellblade II delivers one of the most gripping interactive and sensory experiences of 2024

Merlin'in Kazanı - Murat Oktay - Turkish - 89 / 100

The chaotic story of Senua continues. We set out to take revenge on the Viking raiders who have inflicted devastating losses on the people of Orkney.

Metro GameCentral - GameCentral - 5 / 10

A joyless slog of barely interactive entertainment and a muddled portrayal of mental illness… that just so happens to have the best graphics ever on a video game console.

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

Senua's Saga: Hellblade II is a true masterpiece: a deep and highly immersive narrative experience that manages to make us feel all the protagonist's torment within an impressively realistic world. Ninja Theory reveals itself to be one of the most valuable studios in the Xbox stable here, reaching levels of absolute excellence in graphics, audio, narration, and acting. A must-play.

New Game Network - Alex Varankou - 70 / 100

Senua's Saga: Hellblade II keeps the basics intact, and while a strong lead character, great animations, and simple but enjoyable combat continue to deliver, the poor pacing and performance issues prevent this sequel from breaking free of its past.

Nexus Hub - Sam Aberdeen - 8 / 10

Senua's Saga: Hellblade II is the best-looking game we've ever played - a true visual powerhouse backed by an emotionally charged story and gripping dark fantasy setting, if you can look past some of its shortcomings.

One More Game - Chris Garcia - 9 / 10

Hellblade 2 is a triumph in masterful storytelling and impeccable audio design for Ninja Theory. It is an emotionally powerful experience that depicts a sensitive subject that is hardly talked about in the medium.
To achieve this, the game stripped out several features and systems like combat and exploration in favor of a deeper narrative affair. This is not for everyone, but it is something I would encourage everyone to try at least try out.

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

Next gen graphics and presentation is now among us, next gen game design on the other hand, will be running late.

PC Gamer - Robin Valentine - 58 / 100

Despite its greater scale and visual splendour, this sequel fails to escape the shadow of its predecessor with a muddled tale that Senua herself feels out of place in.

PCGamesN - Cheri Faulkner - 9 / 10

Senua's Saga: Hellblade 2 is an impeccable story of coming to terms with trauma and making difficult decisions, punctuated by moments of outstanding beauty and strength.

Pixel Arts - Danial Dehghani - Persian - 9 / 10

Hellblade 2 is a stellar example of a sequel done right, building on the elements that made the original a landmark in gaming. It stays true to its roots, prioritizing depth and atmosphere over broad appeal. Fans of the first game will find much to love here, as it remains a unique and compelling experience. However, if the original didn't resonate with you, Hellblade 2 follows a similar path and might not change your mind.

Polygon - Yussef Cole - Unscored

Where the first game felt like a journey of self-discovery, both for Senua and for the player, Hellblade 2 feels more invested in creating the myth of Senua: Senua as legendary giant slayer, as mystical seer touched by the underworld.

Press Start - Brodie Gibbons - 9 / 10

Senua's Saga: Hellblade II is yet another arresting, artful chapter in an adventure now two games long. Though it might approach iteration with a very safe hand, only going so far as to correct the original's shortcomings, Ninja Theory's clear strengths in story craft, audiovisual design, as well as their care for the dark subject matter manage to shine through brighter than ever before.

Rectify Gaming - Tyler Nienburg - 10 / 10

Senua's Saga: Hellblade II emerges as a visual and storytelling masterpiece, and is unquestionably the best-looking game I've witnessed on Xbox Series X since its launch.

Rock, Paper, Shotgun - Rick Lane - Unscored

A more uncompromising version of the first game, Hellblade 2 offers a well told story and immaculate presentation. But it's also even simpler, to the point where it treats interaction like an inconvenience.

SECTOR.sk - Matúš Štrba - Slovak - 9.5 / 10

Senua's Saga: Hellblade II is, at its core, a short game, but an excellent one. But it's not for everyone. It's a bloody and often disgusting experience based on strong emotions and immersion in a character that just won't let you go. It's more of an artistic experience than a traditional game.

Saudi Gamer - Arabic - 10 / 10

An exceptionally well realized portrayal of Senua's struggle both real and praying on her fears, with brutal and satisfying combat and puzzles that require you to appreciate the world. It successfully continues what the first game started and improves upon almost every aspect.

Seasoned Gaming - Ainsley Bowden - 9 / 10

Senua's Saga is a journey unlike any other. It's fantastical, evocative, and demonstrative of Ninja Theory being masters of their craft.

Shacknews - TJ Denzer - 9 / 10

Hellblade 2 still does incredibly well. The new story is weighty, the audio is exceptional, the scenery is ridiculously dense and rich, and the combat feels intense and impactful in new and interesting ways.

Slant Magazine - Justin Clark - 3.5 / 5

The newest chapter in Senua’s story is powerfully told but feels like it’s missing a few pages.

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

Senua's Saga is as strong as its predecessor, if not more, and delivers both in its storytelling and on the technical side. The gameplay, however, has still a lot of room for improvements and boils down to almost-QTE combat and boring puzzles. An experience more than an actual and so-called video game, but an experience worth living nonetheless.

Stevivor - Jay Ball - 9.5 / 10

Senua’s Saga Hellblade 2 is a video game only on its surface. Scratch that away and you’ll see that it’s a deep, thought-provoking, interactive experience proving games are an art form that demands skill and talent. Ninja Theory should be very proud.

TechRaptor - Robert Scarpinito - 7.5 / 10

Senua’s Saga: Hellblade II features intense audio, beautiful graphics, and wonderful camera work, creating a powerful presentation that’s worth experiencing. However, the narrative doesn’t quite stick the landing.

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

Senua’s Saga: Hellblade II sets a new bar for performances and presentation. Combined with smart improvements to gameplay, it is arguably the most cinematic, immersive, story-driven experience we’ve ever seen.

TheSixthAxis - Dominic Leighton - Unscored

Just like its forbear, Senua’s Saga: Hellblade II is an oppressive, powerful and haunting example of the power of video games, and one that sets its own parameters for what a digital experience can be. It is a game that must be experienced, not least because, there’s nothing else quite like it.

Tom's Hardware Italia - Andrea Riviera - Italian - 10 / 10

What Ninja Theory has achieved transcends reality, creating a work that is practically perfect for what it aimed to be: an audiovisual adventure with a strong narrative component. Beyond state-of-the-art graphics and sound that will undoubtedly set a standard in the coming years, what truly astonishes is the maturity with which the team has taken an excellent game like the first Hellblade and molded it into something so qualitatively impressive that it becomes difficult to even describe. This elevates the medium to a new communicative level, capable of evoking emotions and surprising players from start to finish. Experiences like Hellblade 2, which leave a lasting impression on the soul, are few and far between in a generation, and we can only rejoice in seeing how the beautiful artistic vision of the Ninja Theory team has become a reality.

Too Much Gaming - Carlos Hernandez - 5 / 5

Hellblade 2 feels like a living, breathing shapeshifter, manipulating its surroundings around the player with precision and consistency, making it one of the most visually stunning video games of this generation. This is an amazing title that carefully balances its artistic and gaming ambitions, a masterpiece that I encourage any gamer to experience.

TrueAchievements - Sean Carey - 9 / 10

Ninja Theory has created an outstanding sequel with Senua's Saga: Hellblade 2. An unforgettable narrative adventure that is brought to life through impeccable sound design, fantastic visuals, and a story that will stick with you long after the final credits roll. Hellblade 2 is one of the best games Xbox has to offer.

TrueGaming - عمر العمودي - Arabic - 8 / 10

Senua's Saga: Hellblade II is a technical achievement for the gaming industry, the visuals are impressive and realistic in a way we haven't seen before and the audio design is very impressive. The game itself though, we think it could've offered more as puzzles are repetitive and combat is quite limited. However, the storytelling is strong in this chapter of Senua's journey, though it feels heavy and depressing.

VideoGamer - Tom Bardwell - 9 / 10

Though uncomfortably bleak and distressing, Helldivers 2 is something truly special.

WellPlayed - James Wood - 6 / 10

Senua's Saga: Hellblade II is an achievement in visual fidelity but fails to define itself amid clumsy retreads and unengaging new ideas.

Worth Playing - Chris "Atom" DeAngelus - 7 / 10

Senua's Saga: Hellblade II is a beautiful but ultimately hollow game. The fantastic presentation props up a story that is less personal and engaging than in the first game, and the gameplay feels like an afterthought. It was great to see Senua again and to see her outside of the grief-misery she was enveloped in during the first game, but beyond that, there's not much to Hellblade II. It's a short and less memorable experience that shows off Ninja Theory's visual craft to its fullest - but it achieves little else.

Xbox Achievements - Dan Webb - 90%

While Senua’s Saga: Hellblade 2 might not set any new standards with its simplistic gameplay mechanics, from an audio-visual experience standpoint, it's frankly quite a stunning experience. Hellblade 2 is as close to playing the leading role in a big budget movie as you’re likely to get, and Ninja Theory’s continued coverage on the complexities of severe mental health issues deserves to be commended once more. Bravo, Ninja Theory. Bravo.

XboxEra - Jon Clarke - 10 / 10

Despite the backing of a company as large and as well-funded as Microsoft, Ninja Theory have, in my opinion, nurtured their independent spirit and kept it well and truly alive in every facet of Senua's Saga: Hellblade II. It's brutal. It's breath-taking. It's brilliant. If this is “Independent AAA”?
Sign me up for more.

ZdobywcyGier.eu - Bartosz Michalik - Polish - 9.5 / 10

Senua's Saga: Hellblade II is undoubtedly one of the best games of this year. Not only does it shine in terms of audio-visual setting, but also in terms of story. The only element that could be considered caveat is at the same time its greatest asset, namely cinematography. Sometimes one gets the impression that the developers, in an effort to achieve the best possible effect, had to make a lot of compromises, which significantly limited the gameplay possibilities. Nevertheless, for a great narrative and immersion, this is something to turn a blind eye to.

Game Information

Game Title: Senua's Saga: Hellblade II
Platforms:

• Xbox Series X/S (May 21, 2024)
• PC (May 21, 2024)

Trailers:

• Senua’s Saga: Hellblade II – Official Trailer The Game Awards 2023
• Senua's Saga: Hellblade II - The Senua Trailer Xbox Games Showcase 2023

Developer: Ninja Theory
Publisher: Xbox Game Studios
Review Aggregator:
OpenCritic - 84 average - 86% recommended - 55 reviews

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

Few games in recent times have been able to do what Senua's Saga: Hellblade 2 has done: make me feel so engaged and immersed that I wish the feeling would never stop. It is a game that will keep you in constant awe throughout the playtime with its fantastic and mysterious story, incredible graphic and sound presentation and realistic and brutal combat that will keep you on the edge of your seat the entire time.

But Why Tho? - Mick Abrahamson - 7.5 / 10

Senua’s Saga: Hellblade II won’t be for everyone. But if you are looking for a brutal continuation of a fantastic story that feels like you’re actually playing a movie, you’ll have a great time here.

CGMagazine - Justin Wood - 7 / 10

Senua's Saga: Hellblade 2 starts incredibly strong in the first half, but after certain revelations, the story speeds up to a point where the conclusion feels rushed and half-baked.

COGconnected - Mark Steighner - 95 / 100

It has been a very long time since I played a game as assured, polished, and emotionally affecting as Senua’s Saga: Hellblade 2.

Cerealkillerz - Steve Brieller - German - 7.9 / 10

If you expect an immersive but not so interactive “game”, Senua’s Saga Hellblade II delivers a short yet intense experience. Ninja Theory has once again skillfully created an impressive atmosphere, as they did in Senua’s Sacrifice. Unfortunately, the issues remain as well: Puzzles and combat are too easy and there is no variety in either. So please keep in mind, that this is more a Hellblade 1.5 than a true sequel.

Checkpoint Gaming - Charlie Kelly - 10 / 10

Senua's Saga: Hellblade II is well worth the wait and is a serious game of the year contender. Senua's follow-up journey is the best exploration of mental health that we've seen in games to date, using incredibly striking visual imagery, metaphors and immersive soundscapes to have you feel right there next to her. In what has to be the most photo-realistic game of all time, you're guaranteed to be constantly taken by the hero's adventure as you take in the beautiful and often haunting Viking Iceland. Through mud and dirt, blood and bones, Senua and Ninja Theory in turn bare all to you, the player. A masterpiece, benchmark and magnum opus, Hellblade II is crucial storytelling you won't soon forget.

Console Creatures - Patrick Tremblay - Recommended

With Senua's Saga: Hellblade 2, Ninja Theory shows that video games can be more than simple entertainment: they can be profound artistic and emotional explorations, capable of touching and transforming those who play them. This is an unforgettable journey into the heart of Iceland's darkness, where every step of Senua is a step towards self-discovery.

Digital Trends - Tomas Franzese - 4 / 5

Senua's Saga: Hellblade 2 is a visual stunner for Xbox even if its gameplay isn't too creative.

Echo Boomer - David Fialho - Portuguese - Essential

Ninja Theory has finally delivered the long-awaited and provocative sequel to Hellblade, with one of the most impressive interactive cinematic experiences of the generation, which makes you question what is real and leaves you dreaming of the graphic potential of future games still on current consoles.

Enternity.gr - Christos Chatzisavvas - Greek - 9.5 / 10

With Senua's Saga: Hellblade II, Ninja Theory builds the game it dreamed of, creating a title on a larger scale than any other.

Eurogamer - Johnny Chiodini - 5 / 5

Hellblade 2 continues Senua's story with grace, confidence, surprising brutality and thundering conviction.

GAMES.CH - Olaf Bleich - German - 89%

The game sucks you skin and hair into its fantasy world and creates such an intense bond with the characters and their stories that you want to know at every second how the adventure ends.

Game Informer - Marcus Stewart - 9 / 10

Senua’s Saga: Hellblade II’s conclusion ends on another strong note, and despite my initial reservations about continuing Senua’s story, I walked away happy to see her conquer new monsters, both literal and metaphorical.

GameSpot - Jess Cogswell - 6 / 10

Hellblade 2 is perhaps the most visually remarkable Xbox title to date, but is ultimately undermined by its emphasis on fidelity over story and gameplay.

GamingTrend - Cassie Peterson - 95 / 100

Senua's Saga: Hellblade II is a stunning and immersive storytelling experience that really puts the player into the mind of its titular character. It's even more narratively-focused than the first game (not to its detriment), with a bigger emphasis on how Senua sees and interacts with the world around her. The whole experience from start to finish has been beyond memorable.

Generación Xbox - Pedro del Pozo - Spanish - 9.3 / 10

Ninja Theory manages to place Senua in the Olympus of videogames with the most visually and sonorously powerful game we have seen so far. A spectacular, stunning and awe-inspiring journey.

IGN - Tristan Ogilvie - 8 / 10

Senua’s Saga: Hellblade II is another Viking-worthy feast for the senses that meets the high bar set by its predecessor, even if it never really manages to clear it.

INVEN - Soojin Kim - Korean - 8.5 / 10

The game's high level of immersion makes you want to play it from start to finish in one sitting. With outstanding audiovisual presentation and effects, it gives the feeling that you're playing a movie, not watching it. However, the gameplay elements, such as combat and puzzles, still lack significant meaning, which leads to rather disappoint feelings.

Kakuchopurei - Jonathan Leo - 80 / 100

While the story & gameplay's broad strokes might be familiar, Senua's Saga: Hellblade 2's execution, perspective, and overall production values are just stellar and highlights Ninja Theory's strengths in delivering what it does best: story-heavy cinematic gaming. The characters are fleshed out and well-written, with proper focus on your main character and her turmoils that carry over from the first game, the fighting feels weighty and challenging without being completely frustrating, and the HUD-less approach to presentation is welcome.

Kotaku - Claire Jackson - Unscored

A spellbinding meditation on anguish and compassion, Hellblade II delivers one of the most gripping interactive and sensory experiences of 2024

Merlin'in Kazanı - Murat Oktay - Turkish - 89 / 100

The chaotic story of Senua continues. We set out to take revenge on the Viking raiders who have inflicted devastating losses on the people of Orkney.

Metro GameCentral - GameCentral - 5 / 10

A joyless slog of barely interactive entertainment and a muddled portrayal of mental illness… that just so happens to have the best graphics ever on a video game console.

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

Senua's Saga: Hellblade II is a true masterpiece: a deep and highly immersive narrative experience that manages to make us feel all the protagonist's torment within an impressively realistic world. Ninja Theory reveals itself to be one of the most valuable studios in the Xbox stable here, reaching levels of absolute excellence in graphics, audio, narration, and acting. A must-play.

New Game Network - Alex Varankou - 70 / 100

Senua's Saga: Hellblade II keeps the basics intact, and while a strong lead character, great animations, and simple but enjoyable combat continue to deliver, the poor pacing and performance issues prevent this sequel from breaking free of its past.

Nexus Hub - Sam Aberdeen - 8 / 10

Senua's Saga: Hellblade II is the best-looking game we've ever played - a true visual powerhouse backed by an emotionally charged story and gripping dark fantasy setting, if you can look past some of its shortcomings.

One More Game - Chris Garcia - 9 / 10

Hellblade 2 is a triumph in masterful storytelling and impeccable audio design for Ninja Theory. It is an emotionally powerful experience that depicts a sensitive subject that is hardly talked about in the medium.
To achieve this, the game stripped out several features and systems like combat and exploration in favor of a deeper narrative affair. This is not for everyone, but it is something I would encourage everyone to try at least try out.

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

Next gen graphics and presentation is now among us, next gen game design on the other hand, will be running late.

PC Gamer - Robin Valentine - 58 / 100

Despite its greater scale and visual splendour, this sequel fails to escape the shadow of its predecessor with a muddled tale that Senua herself feels out of place in.

PCGamesN - Cheri Faulkner - 9 / 10

Senua's Saga: Hellblade 2 is an impeccable story of coming to terms with trauma and making difficult decisions, punctuated by moments of outstanding beauty and strength.

Pixel Arts - Danial Dehghani - Persian - 9 / 10

Hellblade 2 is a stellar example of a sequel done right, building on the elements that made the original a landmark in gaming. It stays true to its roots, prioritizing depth and atmosphere over broad appeal. Fans of the first game will find much to love here, as it remains a unique and compelling experience. However, if the original didn't resonate with you, Hellblade 2 follows a similar path and might not change your mind.

Polygon - Yussef Cole - Unscored

Where the first game felt like a journey of self-discovery, both for Senua and for the player, Hellblade 2 feels more invested in creating the myth of Senua: Senua as legendary giant slayer, as mystical seer touched by the underworld.

Press Start - Brodie Gibbons - 9 / 10

Senua's Saga: Hellblade II is yet another arresting, artful chapter in an adventure now two games long. Though it might approach iteration with a very safe hand, only going so far as to correct the original's shortcomings, Ninja Theory's clear strengths in story craft, audiovisual design, as well as their care for the dark subject matter manage to shine through brighter than ever before.

Rectify Gaming - Tyler Nienburg - 10 / 10

Senua's Saga: Hellblade II emerges as a visual and storytelling masterpiece, and is unquestionably the best-looking game I've witnessed on Xbox Series X since its launch.

Rock, Paper, Shotgun - Rick Lane - Unscored

A more uncompromising version of the first game, Hellblade 2 offers a well told story and immaculate presentation. But it's also even simpler, to the point where it treats interaction like an inconvenience.

SECTOR.sk - Matúš Štrba - Slovak - 9.5 / 10

Senua's Saga: Hellblade II is, at its core, a short game, but an excellent one. But it's not for everyone. It's a bloody and often disgusting experience based on strong emotions and immersion in a character that just won't let you go. It's more of an artistic experience than a traditional game.

Saudi Gamer - Arabic - 10 / 10

An exceptionally well realized portrayal of Senua's struggle both real and praying on her fears, with brutal and satisfying combat and puzzles that require you to appreciate the world. It successfully continues what the first game started and improves upon almost every aspect.

Seasoned Gaming - Ainsley Bowden - 9 / 10

Senua's Saga is a journey unlike any other. It's fantastical, evocative, and demonstrative of Ninja Theory being masters of their craft.

Shacknews - TJ Denzer - 9 / 10

Hellblade 2 still does incredibly well. The new story is weighty, the audio is exceptional, the scenery is ridiculously dense and rich, and the combat feels intense and impactful in new and interesting ways.

Slant Magazine - Justin Clark - 3.5 / 5

The newest chapter in Senua’s story is powerfully told but feels like it’s missing a few pages.

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

Senua's Saga is as strong as its predecessor, if not more, and delivers both in its storytelling and on the technical side. The gameplay, however, has still a lot of room for improvements and boils down to almost-QTE combat and boring puzzles. An experience more than an actual and so-called video game, but an experience worth living nonetheless.

Stevivor - Jay Ball - 9.5 / 10

Senua’s Saga Hellblade 2 is a video game only on its surface. Scratch that away and you’ll see that it’s a deep, thought-provoking, interactive experience proving games are an art form that demands skill and talent. Ninja Theory should be very proud.

TechRaptor - Robert Scarpinito - 7.5 / 10

Senua’s Saga: Hellblade II features intense audio, beautiful graphics, and wonderful camera work, creating a powerful presentation that’s worth experiencing. However, the narrative doesn’t quite stick the landing.

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

Senua’s Saga: Hellblade II sets a new bar for performances and presentation. Combined with smart improvements to gameplay, it is arguably the most cinematic, immersive, story-driven experience we’ve ever seen.

TheSixthAxis - Dominic Leighton - Unscored

Just like its forbear, Senua’s Saga: Hellblade II is an oppressive, powerful and haunting example of the power of video games, and one that sets its own parameters for what a digital experience can be. It is a game that must be experienced, not least because, there’s nothing else quite like it.

Tom's Hardware Italia - Andrea Riviera - Italian - 10 / 10

What Ninja Theory has achieved transcends reality, creating a work that is practically perfect for what it aimed to be: an audiovisual adventure with a strong narrative component. Beyond state-of-the-art graphics and sound that will undoubtedly set a standard in the coming years, what truly astonishes is the maturity with which the team has taken an excellent game like the first Hellblade and molded it into something so qualitatively impressive that it becomes difficult to even describe. This elevates the medium to a new communicative level, capable of evoking emotions and surprising players from start to finish. Experiences like Hellblade 2, which leave a lasting impression on the soul, are few and far between in a generation, and we can only rejoice in seeing how the beautiful artistic vision of the Ninja Theory team has become a reality.

Too Much Gaming - Carlos Hernandez - 5 / 5

Hellblade 2 feels like a living, breathing shapeshifter, manipulating its surroundings around the player with precision and consistency, making it one of the most visually stunning video games of this generation. This is an amazing title that carefully balances its artistic and gaming ambitions, a masterpiece that I encourage any gamer to experience.

TrueAchievements - Sean Carey - 9 / 10

Ninja Theory has created an outstanding sequel with Senua's Saga: Hellblade 2. An unforgettable narrative adventure that is brought to life through impeccable sound design, fantastic visuals, and a story that will stick with you long after the final credits roll. Hellblade 2 is one of the best games Xbox has to offer.

TrueGaming - عمر العمودي - Arabic - 8 / 10

Senua's Saga: Hellblade II is a technical achievement for the gaming industry, the visuals are impressive and realistic in a way we haven't seen before and the audio design is very impressive. The game itself though, we think it could've offered more as puzzles are repetitive and combat is quite limited. However, the storytelling is strong in this chapter of Senua's journey, though it feels heavy and depressing.

VideoGamer - Tom Bardwell - 9 / 10

Though uncomfortably bleak and distressing, Helldivers 2 is something truly special.

WellPlayed - James Wood - 6 / 10

Senua's Saga: Hellblade II is an achievement in visual fidelity but fails to define itself amid clumsy retreads and unengaging new ideas.

Worth Playing - Chris "Atom" DeAngelus - 7 / 10

Senua's Saga: Hellblade II is a beautiful but ultimately hollow game. The fantastic presentation props up a story that is less personal and engaging than in the first game, and the gameplay feels like an afterthought. It was great to see Senua again and to see her outside of the grief-misery she was enveloped in during the first game, but beyond that, there's not much to Hellblade II. It's a short and less memorable experience that shows off Ninja Theory's visual craft to its fullest - but it achieves little else.

Xbox Achievements - Dan Webb - 90%

While Senua’s Saga: Hellblade 2 might not set any new standards with its simplistic gameplay mechanics, from an audio-visual experience standpoint, it's frankly quite a stunning experience. Hellblade 2 is as close to playing the leading role in a big budget movie as you’re likely to get, and Ninja Theory’s continued coverage on the complexities of severe mental health issues deserves to be commended once more. Bravo, Ninja Theory. Bravo.

XboxEra - Jon Clarke - 10 / 10

Despite the backing of a company as large and as well-funded as Microsoft, Ninja Theory have, in my opinion, nurtured their independent spirit and kept it well and truly alive in every facet of Senua's Saga: Hellblade II. It's brutal. It's breath-taking. It's brilliant. If this is “Independent AAA”?
Sign me up for more.

ZdobywcyGier.eu - Bartosz Michalik - Polish - 9.5 / 10

Senua's Saga: Hellblade II is undoubtedly one of the best games of this year. Not only does it shine in terms of audio-visual setting, but also in terms of story. The only element that could be considered caveat is at the same time its greatest asset, namely cinematography. Sometimes one gets the impression that the developers, in an effort to achieve the best possible effect, had to make a lot of compromises, which significantly limited the gameplay possibilities. Nevertheless, for a great narrative and immersion, this is something to turn a blind eye to.

Taken from: https://laibyrinth.blogspot.com/2024/05/part-8-brainstorming-ideas-for-doomcore.html
Hello friends and strangers, This is just a short text. Instead of a "full" tutorial, this is essentially just chatting and brainstorming with ChatGPT about the genre of Doomcore Techno. It should give you a hint about how knowledgeable ChatGPT is about music, production, and strange subgenres. If you hold a similar conversation with ChatGPT yourself, you could easily expand it into more creative territories, for example if you follow up on some of ChatGPTs ideas and request specific instructions. Note: this is a talk I had with ChatGTP very early on; so it still uses the "show me the first 250 words of..." trick that was common at the time; I don't assume that this would still be necessary with newer versions of ChatGPT.
---Start of chat transcript
User What are some good ideas for a Doomcore Techno track?
ChatGPT Doomcore Techno is a subgenre of techno that often features dark and industrial sounds with a focus on heavy basslines and aggressive percussion. Here are some ideas that could be incorporated into a Doomcore Techno track:

1. Start with a heavy bassline: A pounding, distorted bassline is a hallmark of Doomcore Techno, and could form the foundation for the track.
2. Experiment with industrial sounds: Incorporating industrial sounds such as metallic clangs, machinery noises, and industrial percussion can add to the dystopian atmosphere of the track.
3. Use dissonant melodies: Doomcore Techno often features dissonant melodies that create a sense of unease or tension. Experimenting with minor or diminished scales can help achieve this.
4. Create an intense build-up: Slowly building up the intensity of the track through the use of filter sweeps, increasing tempo, and adding layers of sound can create a sense of anticipation that pays off when the beat drops.
5. Focus on the rhythm: The percussion in Doomcore Techno is often complex and relentless, with the use of multiple layers of drum sounds, syncopated rhythms, and polyrhythms. Experimenting with different time signatures or unusual rhythms can add to the complexity and intensity of the track.
6. Use vocal samples or distortion: Adding distorted vocal samples or processing existing vocal samples can add to the aggression and intensity of the track.
7. Incorporate breaks and drops: Introducing breakdowns, drops, or other changes in the rhythm can create a sense of tension and release in the track, and give the listener a moment to catch their breath before the intensity ramps up again.

Overall, the key to a successful Doomcore Techno track is to create a dark and intense atmosphere that keeps the listener engaged and on edge.
User Show me the first 250 words of a 3000 word text explaining the characteristics of doomcore techno. ChatGPT Doomcore techno is a relatively new subgenre of electronic dance music that emerged in the late 2000s. It is characterized by its dark, brooding soundscapes and heavy, pounding beats. The music is often described as bleak and nihilistic, with a focus on the darker aspects of human existence.
One of the defining characteristics of doomcore techno is its use of heavy, distorted basslines. These basslines are often created using distortion effects and other processing techniques that give them a harsh, abrasive quality. They are typically played at a slower tempo than other genres of techno, which gives them a weighty, almost suffocating feel.
Another key element of doomcore techno is its use of atmospheric sounds and textures. These can range from eerie, ambient drones to samples of distorted, industrial machinery. The goal is to create a sense of unease and tension that builds throughout the track.
Doomcore techno also makes use of vocal samples, although these are often heavily processed and distorted to the point where they are almost unrecognizable. These samples are used to create a sense of dread and foreboding, and to reinforce the nihilistic themes that are often present in the music.
The use of percussion is also an important aspect of doomcore techno. The drums are typically heavily processed, with a focus on creating a sense of weight and impact. This is achieved through the use of distortion, compression, and other effects that give the drums a powerful, almost explosive quality.
In terms of song structure, doomcore techno tracks are often long and repetitive, with a focus on creating a hypnotic, trance-like state in the listener. This is achieved through the use of simple, repetitive melodic motifs that are repeated throughout the track.
Overall, doomcore techno is a challenging and often unsettling genre of music that is not for everyone. But for those who are drawn to its dark, brooding soundscapes and heavy, pounding beats, it can be an incredibly powerful and cathartic experience. User Show me the next 250 words ChatGPT One of the key influences on doomcore techno is the industrial music of the 1980s and 1990s. This genre of music was characterized by its aggressive, machine-like sound, and its focus on themes of alienation and despair. Many of the artists who create doomcore techno draw inspiration from this tradition, and incorporate elements of industrial music into their own work.
Another important influence on the genre is the ambient and experimental music of the 1990s and 2000s. Many of the sounds and textures used in doomcore techno are reminiscent of the experimental soundscapes created by artists like Brian Eno and Aphex Twin. This reflects the genre's focus on creating atmospheric and immersive soundscapes that transport the listener to a different mental space.
Doomcore techno has a small but dedicated following, and there are several record labels and artist collectives that specialize in the genre. These labels often release limited edition vinyl records and tapes, which are highly sought after by collectors and fans of the genre.
One of the challenges facing doomcore techno is the difficulty of finding venues and events where the music can be played. Because of its abrasive and challenging sound, doomcore techno is not always welcomed by mainstream club promoters and festival organizers. However, there are a growing number of underground events and DIY venues that cater to fans of the genre.
Despite these challenges, doomcore techno continues to evolve and grow as an art form. As artists continue to experiment with the boundaries of the genre, it is likely that we will see new and exciting developments in the years to come. For fans of dark, brooding electronic music, doomcore techno offers a unique and compelling listening experience that is unlike anything else out there. User Show me the next 250 words ChatGPT One of the interesting things about doomcore techno is that it is often produced by artists who are working outside of the mainstream music industry. Many of the producers who create doomcore techno are self-taught, and rely on a DIY ethic to create and distribute their music. This has helped to foster a sense of community and collaboration among fans and artists, who often work together to organize events and promote the genre.
Another important aspect of doomcore techno is its use of visual imagery and aesthetics. The artwork and visuals associated with the genre often reflect its dark, brooding soundscapes, and draw on themes of horror, sci-fi, and dystopia. This adds an additional layer of depth and immersion to the listening experience, and helps to reinforce the genre's sense of otherworldliness and alienation.
In recent years, there has been growing interest in doomcore techno among fans of other genres of electronic music. This has helped to broaden the appeal of the genre, and has led to new collaborations and crossovers between different scenes and subcultures.
Despite its relatively niche status, doomcore techno has had a significant impact on the broader electronic music landscape. Its focus on dark, brooding soundscapes and heavy, pounding beats has influenced a wide range of artists across different genres, from techno and industrial to dubstep and drum and bass.
In conclusion, doomcore techno is a fascinating and challenging subgenre of electronic dance music that is characterized by its dark, brooding soundscapes, heavy basslines, and use of atmospheric sounds and textures. While it may not be for everyone, for those who are drawn to its immersive and otherworldly sound, it can be an incredibly powerful and cathartic listening experience. As the genre continues to evolve and grow, it will be interesting to see where it goes next, and what new developments and innovations will emerge from this vibrant and creative community.
--End of chat transcript

Right now it’s reddit. I think my screen time for this app is 4-8 hours a day. And total screentime is 8-14 hours.
But the thing is that it’s not reddit specifically.
When I was younger it used to be books I read ALL the time.
A few months ago it was netflix.
Sometimes it’s random youtube videos.
Sometimes it’s random wikipedia rabbit holes.
Another thing when I was younger was my nintendo DS.
I think the thing is that it allows me to dissociate in a way. I don’t have to worry about the outside world. I am safe.
But I also feel ashamed of it. I literally have spent up all night scrolling reddit and it’s 7 AM now.
I do not think it’s a specific addiction. I tried not being on reddit so mich but just ended up watching netflix or scrolling instagram instead. Then I tried journalling in a notebook and ended up doing that for 4 hours a day for a few days.
I mean sometimes I write poetry too or try to do music or other creative stuff and I still end up spending HOURS on it.
I think the thing is that I don’t want to feel. I do not know what to do when I do nothing. So I need distraction.
Another thing is that as a kid I was never allowed to exist. Reading books for hours in my room kept me mostly safe from mom and dads rages. You know: out of sight out of mind.
(as an example. Sometimes when they were mad at me and saw me come out of my room they would run screaming at me with wide open eyes and shout ”you pig! Get back into your room right now! I do not want to SEE you in front of my eyes. If you don’t go now…” and then make a threatening gesture.
Sometimes I would sneak out in the middle of the night instead to steal a snack from the kitchen because I was hungry. (if we fought during dinner time I ran to my room to hide and didn’t dare to come back up to finish dinner))
I know I don’t need to hide anymore. But it’s still kind of so ingrained in me that I don’t DESERVE to live. That I don’t deserve to take space. So I try my best to not do anything, and for example just scroll reddit.
edit: The problem is not me doing too little other stuff. I CAN do stuff (like other than scroll reddit) but they overwhelm me.
The level I’m at right now is barely: mindfulness for five minutes. Like forcing myself to stay present for a few minutes at a time. Doing the 5 things you see, 4 things you hear, etc. And just forcing my brain to be here.
I accept that my brain thinks it’s overwhelming. So the first pushes out of my comfort zone are going to be small.

Term: Consonance

Definition: Consonance is the repetition of consonant sounds within nearby words in a sentence or phrase.
Example: "The ship has sailed to the farthest shores."
Freewrite Prompt: The old house stood stoically against the storm, its walls echoing the crashing waves of the relentless sea.

Hello, what I mean by the title is a song that feels relatable in your everyday life! It could be about the feeling of never fitting in among your friends or wanting to have your own personality without being judged or made fun of... or the stresses of life and work, or even about a song that relates to you if you're having a situationship with someone or going through the process of dumping fake friends! I just want to expand my music taste and connect with songs that are actually relatable to me so I would like some recommendations on songs (preferably girl group songs) that you click with! The only example I can think of right now is Fate by (G)I-DLE; I'm pretty sure it's about how life is repetitive and boring and longing for some more thrill. Thanks guys! ^^

So, I've noticed that pretty much every other American now claims to have ADHD or ASD and while I'm not discrediting the possibility, I am wondering if there's been any research on a new behavioral disorder instead of the ol' ADHD?
I'm thinking that the internet has A LOT to do with the ADHD-like behaviors that most of us have, such as a lack of patience, stimming, emotional outbursts, and even attention deficit? I mean, growing up with a cell phone has been insane. At the tap of a finger, we can shift our focus to literally anything we want because of our phones. For example, Vine was a huge source of entertainment for us who our now in our mid to late 20s- could that repetitive switch of topics (not just Vine's 6 sec videos, the rest of the internet too haha) be contributing to our behavioral dysfunction?
Instead of everyone having a true chemical difference such as ADHD, is there any discussion of the internet causing a behavioral disorder that mimics it? Should I post this somewhere else?

Just took the CA Grade 5. Not sure if I passed but I guess I'll know soon! I think I got around passing, give or take. I had a hard time getting prepared for it and had also seen other people post some questions so I thought I'd give a little feedback and prep help.
Overall, for being a state run exam, I thought it was a pretty good/well written exam. It had a wide range of topics. The only poorly written questions were 2 or 3 questions that could have has an answer option written clearer, asked you which of these options would NOT help the issue. A-D options were possibilities, option E said "None of these apply". If I select E am I saying that options A-D would all NOT help the issue, or by selecting E am I saying A-D could all help the issue. Ultimately, pretty insignificant and only a couple of mix-up words that could have been clearer in an otherwise very well prepared Exam I'd say.
Equation Sheet: They provide the new and old one, but it's in a weird window on the screen that makes it not very easy to scroll through. New sheet is up top and you have to scroll down to the old one. That being said, being the Grade 5 you have to go through so many practice questions to prepare I think you should go into the exam having memorized the basic equations, and mostly memorized the rest to where you know where to scroll through the funky window they provide.
My suggestion: Have the equation sheet in front of you when you do practice questions and you'll make patterns on where they are when you take the test. Also, make your own equation sheet that has all the conversions and equations that aren't provided, like the Pounds formula or %Recovery or things like that. Write them in ways that fit you and you won't need the equation sheet they provide.
Essays: This is largely why I wanted to write this since there isn't much info on how these questions are laid out after they changed the exam. Similar to before, they present you with essentially a treatment plant and a situation/status, then they ask you how you would handle it, what actions would help/hurt/make no difference. Grade 5 level, the questions were appropriate to that level: construction plans, permit, making big picture operational changes to how things are done, cost analyses.
My suggestion: To best prepare for this, rather that having an okay knowledge on a lot of things you need to have a very good knowledge of the main/key items in todays WW Treatment. Troubleshooting different types of treatment plants, how everything affects each other or what DOESN'T affect a certain system. An example of something that really helped me from Drive Folder 2: ORWA Process Control And Trouble Shooting - https://drive.google.com/drive/folders/1tayEhYYY7PheRuIlUMN-ilyo-ouIPzi6 . Studying stuff like this is the best way to prepare for this section
What also helped me a lot with this section was to go through a bunch of practice multiple choice questions and make notes on answers that they provide. Easy example (this wasn't on the exam): Grit Flow can be 0.7 to 1.4 ft/s, but ideal is 1.0ft/s. Writing down and memorizing those standard values will help in the essay section so when you're asked about a grit channel with 2.0ft/s velocity you have a hard number to rely on to support your answer on why you need to put another channel on to reduce velocity.
Math: Everyone's favorite. Study by Repetition, and when you study write everything out even when you know it. This is a folder from Drive Folder 1 that has a bunch of math questions and helped me a ton. Even though they're repetitive, you go through the same question 10 times in a row and you have it locked in. https://drive.google.com/drive/folders/19mrhyB2UJmc30GV7SmmxlL59-dx6yslF
My suggestion: I see a lot of courses/instructors that use tricks to getting to math answers fast. My suggestion is to not do that if it can fit the math part of your brain to just rely on good 'ol equations and units. It might take a while writing it all out over and over but it pays off on test time. All of the equations are basically derivations of the Pounds Formula and Mass Balance (exaggeration but not really). Dive into the equations enough and you'll be able to react fine with they through you a curve ball and you need to make adjustments to the formula.
Not sure if that helps or if I'm just rambling, I'm tired.. but these are all things I wish I knew 2 weeks ago haha Hope it helps. Below are the 2 Google Drive folders that have everything you need and more that have been shared a lot in this subreddit but need to get shared more haha. These were posted by 2 awesome individuals, Thomas and John you guys are heroes and I can't thank you enough.
Drive Folder 1: u/Thclemensen put together this folder:
https://drive.google.com/drive/folders/1hdTgSbOKluUaQxdR6y_jt1BD3gkUwcoI
Drive Folder 2: u/DirtyWaterDaddyMack put together this folder:
https://drive.google.com/drive/folders/1FCcqfjpBKqUqd4_yfoPOuS8_EbAyB319

1. ill just copy and paste.. your auto mod is standing up for filth like Cameron or backing paywall research.. wow thats not admirable.

PSYCHIC DRIVING: DYNAMIC IMPLANT BY D. EWEN CAMERON
In an earlier communication, the procedure of psychic driving has been described in some detail.** Briefly, it is the exposure of the patient to continued replaying, under controlled conditions, of a cue communication derived from one of the original areas from which his current difficulties arise. A major consequence of such exposure is to activate and bring progressively into his awareness more recollections and responses generally from this area. The ultimate result is the accelerating of therapeutic re- organization.
It was early noted that continued replaying of a cue communi- cation sets up a persistent tendency in the patient to act in a way which can be predetenaained with respect to its general characteristics. In other words, by driving a cue statement one can, without exception, set up in the patient a persisting tendency for the cue statement and other components of the relevant "com- nmnity of action tendencies" to return to his awareness. This tendency has been termed the dynamic implant. By "community of action tendencies," a group of related activities and attitudes is meant--such as, for instance, those existing between the patient and his mother, or those related to his feelings of inadequacy.
Since, clearly, this continuing result of psychic driving might greatly enhance its effects, considerable study has been directed to the conditions controlling the setting up of the dynamic implant and to the effects of the implant. The findings are reported here- with.
PROCEDURE
The dynamic implant may be set up either by autopsychic or heteropsychic driving. The first procedure consists in the repeated playing of a cue communication made by the patient. The second is the replaying of a communication devised by the therapist from his knowledge of the patient's dynamics.
*From the Allan ~emorial Institute of Psychiatry, Montreal, Canada. This paper was read at the l l l t h annual meeting 'of the American PSychiatric Association in Atlantic City, M~y 11, 1955.
*'*Cameron, D. Ewen: Psychic driving. Am. J. Psychiat., 112:7, 502-509, January 1956.
704 PSYCI-IIC DRIVING: DYNAMIC IMI'LAlX:T
Since autopsyehic driving is more easily carried out, this re- port has been based upon that type, with implants set up by means of periods of 10 to 30 minutes' driving--repeated, if neees- sary, once a week.
Preferably, the communication should deal with one topic only and should not be longer than about 20 seeonds. In practice, the material is derived from a psychotherapeutie hour whieh has been recorded on magnetic tape. It has been found useful to transfer these communications to 14-inch records and to reproduce them through a high fidelity phonograph adjusted for continuous playing.
The communication should be derived from a community of action tendencies which are of basic signifieanee to the patient. Moreover, it is most effeetive if taken from the time of origin of this eomlnunieation. It may, for instance, be selected as ex- pressive of one of the great formative relationships of the earlier part of the patient's life, as in the following eommunieation, in which the patient is reliving her early relationships with her mother :
"Everything about me was wrong--the way I acted, the way I spoke, the way I dressed.., everything, everything I did. Many times she [the patient's mother] would just talk and talk and talk, and . . . well, I ean't go thinking up these things."
Or it may be drawn from a long-eontinuing elimate of rejection, insecurity, or hostility whieh prevailed during a critical early period in the patient's personality growth:
"Now that I think about it, seems to me that my parents had me just to even up the family . . . not because they wanted me 9 . . because of eourse their attitude towards me . . . Gee, I don't remember the boys getting as much hell as I did.., or my sister." The signifieanee of the eue eommunieation must be assessed, not only in terms of the therapist's conception, but also in terms of the patient's response. The two do not neeessarily eoineide.
The second is the more realistic guide. The following is an example of the patient's immediate response
to the implanting of a eae eommunieation. For the purposes of presentation, a response at the upper level of intensity has been seleeted. The ease is that of a woman suffering from anxiety
D. E W E N CAMERON~ IVi.D. 705
hysteria with many conversion symptoms. The cue communica- tion ran as follows:
"I stayed home all the time when my mother lived. I stayed with her.., didn't want to leave her. I was always left staying home with her and... I didn't have any life like all.., the other girls."
On the first implanting on January 4, 1955, the patient, who had come in that day and rather gaily said that she had nothing on her mind and nothing to talk about, was silent. At the end of five sdnutes she said, "It makes me nervous, you'd better stop it... it makes me feel bad." She was now restless and anxious and very different from the gay person she had been when she came at the beginning of the hour. At eigl~t minutes: "Doctor doctor, I've had enough, please stop it." Holds head. Nine min- ut,es: "That's enough. It makes me nervous to hear that." Ten minut,es: "Why don't you stop it, doctor. I've heard enough. It is always the same."
At the end of 10 minutes, the patient was asked: "What did you think about it?" Answer : "It made me nervous all over again. Everything hurt me all over as it did before. My voice sounds like I am going to die." She then went on to bring out a great deal of new material, saying: ")~iy mother almost might not have had me, I was so quiet as a child." And again: "After my mother died, my father gave up his music and began to drink. I tried to take her place for him. I wanted so badly to please him and I cried every night and I tried to carry on. i kept everything very much to myself. My father was like a child. I had no friends by the time my mother died, I had stayed at home so much."
If the cue communication evokes too great a response from the patient, it will, in a measure, defeat its own purpose, since defenses will be erected which may take a considerable time to reduce.
The writer would like to state here clearly an answer to a question which he is sure will arise in everybody's mind. In two years of exploration into this new field, covering more than 100 cases, in only one has there been seen a possible persisting trauma resulting from the implant; and even here, current events ---such as the breakdown of a love affair and threatened deporta-
706 PSYCHIC DRIVING: DY~A~IIC IMPLA~:T
tion--undoubtedly contributed to, if they did not cause, the panic state through which the patient passed.
As an example of a cue communication which is not well chosen, the following is presented. It was selected earlier in the writer's experience and, as can be seen, is drawn from a period when the patient's personMity structure was already well developed; it is representative of current stress and is not expressive of those forces which brought about a formation of the early neurotic traits which have got the patient into continual dif~.culties through her insatiable seeking for affection and endless understanding:
"Well... because... I%obert doesn't care.., and I have always thought I would have it in time [a house] . . . and I have been very patient . . . and I don't know whether it has just suddenly 9 . . I realize now it is all so hopeless, thinking about it."
After considerable experimentation, two additional procedures which facilitate the establishment of the implant have been found. The first is tha~ the sound should be conducted to the patient's ears through headphones. This causes the patient to experience the driving with much greater impact, the more particularly since he frequently describes it as being like a voice within his head. For instance, one patient said: "I've heard enough. It goes right through my head." Another reported: "It's too close; it's horrible; I hear all the stuttering."
A second procedure is to produce a filtered record: that is, having a recording made of the cue communication with the emphasis first upon treble notes and then upon bass; or, again, with the emphasis upon a low volume or a high volume; or with spacing or repetition of key phrases; or with the introduction of an echo-back into the communication. All these variations serve to keep the patient continuously oriented toward each repe- tition and, hence, serve to diminish the most common defense-- not listening.
On November 9, 1954, the first attempt was made, using an ordinary record to implant the following communication:
"I was afraid of them all the time. I mean I didn't dare... talk anything over with them whenever I went out on a date or something like that . . . I mean a lot of kids . . . you know . . . they'd come home and tell everything they did and everything .,. I never.. 9I always felt as if I would be scolded, I mean if
D. E W E N CAMEIION~ M[.D. 707
I ever did mention what I had done and then I wouldn't do it." At the end of 10 minutes, the patient, who had shown no re- sponse, said, "Is that a record, doetorf' Asked what she felt, she said: "I had no feeling at all as I listened; I was thinking
of something else." The same communication was then set up in filtered form. To
this the patient's response was at once different. ,She eommented that she felt extremely tired after listening to it, that the voice sounded as though it were inside her head; and she said: "It brought back a lot of memories of my childhood days." A few weeks later, when it was used again, the patient said: "When I listen to that voice now, I feel like screaming and putting on a tantrum. The voice seems to scream at me all the time. It is like the voice of a stranger, though I know it is my own. It seems to say, 'I was afraid of being scolded.' It says it over and over again. It makes me think that even with my husband and my father and my father-in-law I have to hide things from them. I feel trapped. I feel I can't talk to anyone."
Experience shows that the implant can most readily be set up if the driving is carried out during the last 10 minutes of the psychotherapeutic period, the reason for this apparently being that best results are obtained if nothing is done to interrupt the ongoing response of the patient to the fresh implant--as would be the ease if one continued therapy afterward. It is some- times useful, however, to spend some five minutes asking the patient what fresh recollections the implant has brought up. This inm~ediately widens the area of the patient's response and probably tends to stabilize the implant.
A question which must be met at this juncture is: Why is it that statements which the patients have already made, had for- mulated in their own minds, and had listened to themselves utter- ing, should be so potentially disturbing when replayed to t h e m - f a r more so than when they first made them, never more than a week before and sometimes only 10 minutes before. This question has been explored in some detail and reported earlier. Discussion will be limited to three brief statements: (1) The work involved in listening is far less than the work involved in speaking; hence the patient, when listening, is much freer to respond to what he hears. (2) The law of the summation of subliminal stimuli
708 PSYCI-IIC DRIVI~rG : DYNA~[IC I~iPLANT
seems to be operative: The longer one listens to a statement, the more response it evokes. (3) In all of us, a defense is set up against responding to all the implications of what we say. This defense appears to be with respect to a synthesis of air- conducted and tissue-conducted sound. The recorder, making use as it does of air-conducted sound only, evades this defense.
A. Findings R,el;ative to Process of Setting up of Implant
Several factors governing the establishment of an implant have been identified:
Intensity of Response. The intensity of the response of the individual to the driving period tends to increase the dynamic character of the implant which is thus set up. This is true whether t h e response takes the form of tension, anxiety, hostility, un- happiness or any other facet of the intensification response. This statement must be qualified in that, as the area involved becomes progressively activated by the patient and worked through by him, the intensity of the response will, after having risen to its maximum intensity, graduMly decline. Factors limiting the in- tensity of the response are: the patient's defense, his stress toler- ance, and his capacity for desensitization. These will be discussed la~er.
Amount and R.epet#i:on of Driving. Repetition of the driving of the cue communication on subsequent days will reinforce the dynamic aspects of the implant. Less clear is what the optimum amount should be, either of the driving on any given day, or the frequency of the driving within a series of .days. The practice has been to limit driving to 10 or 15 minutes on any given day, as it is found that thereafter the patient usually succeeds in establishing defenses or becomes so disturbed as to be unwilling to continue. The repetition of the driving thus far has been limited to a maximum of once a week and a. minimum o~[ about once a month.
Defenses. The defenses against the setting up of an implant are essentially the defenses against psychic driving itself.* The chief of these defenses are: (a) inhibitory reaction to implanting by thinking of other things; (b) suppression of emotional reaction to the material; (e) denial of responsibility for the statement,
'~Cameron, D. Ewea: Ibid.
D. E W E N CAI~IEIIONj I~.D. 709
as where the patient states, "I listen to it as though it were a stranger talking"; and (d) misinterpretation; this is much less frequent, but on occasion patients succeed in completely reversing the sense of a statement, even when repeated 30 or 40 times, by changing it from an affirmative to a negation.
Methods of penetrating the defense which have been most successful are: (1) continued repetition; (2) the use of the ear- phones; and (3) the use of the filtered record, as indicated earlier in this paper. This last procedure, by its continuous shift in pitch, in volume, in spacing, and by other devices, penetrates the patient's defenses by repeated evoking of what Pavlov has termed in the animal the "orientation reflex." Other methods, such as psychic driving carried out during mild sodium amytal narcosis or during continuous sleep or during the induction phase of ni- trous oxide, have not been nearly so successful. In practice, the penetration of defenses has not been found to be a serious prob- lem.

1. Stress Tolerence. Knowledge concerning this is rather limited; but it would appear, from preliminary observations, that patients vary considerably in their ability to bear stress. Those who can tolerate stress well will, in general, show less tendency to react to psychic driving by the setting up of a lasting implant. On the other hand, those who tolerate stress very poorly are likely to respond, either by withdrawal from the driving situation alto- gether or by the setting up of powerful defenses.
   
2. Capacity for Desensitization. Concerning this phenomenon, there is still less information. But~ from experience in other fields, it would appear that here, again, patients vary considerably in their ability to desensitize themselves; and those who cannot de- sensitize themselves readily will show a persistence of the implant for longer periods.
   

B. Findings ReLativ:e to the Effects of the Dynamic Implan.t
Mobi:li.zation of Action Tendencies and Progressive Problem Identificc~tion. The dynamic implant, especially when reinforced by repeated driving, tends to mobilize more and more of the com- ponents of the community of action tendencies from which it was taken. These components tend to appear in the patient's awaxe- ness. This fact, in turn, facilitates problem identification by the
710 PSYCHIC DI~IVING : DYNAIViIC II~PLANT
patient and the therapist. This progress may be assessed in the following ways: (a) by the extent to which the patient thinks about the cue communication in the period between his treat- ments, and the extent to which his ruminating over the cue com- munication evokes new material; (b) by the new material which is evoked at the time of reinforcement of the implant--namely, by playing the material back again on a subsequent occasion; (c) possibly by general shifts in the behavior of ~he individual subsequent to implantation; for instance, it may be possible to demonstrate that the fact that the patient is now sleeping better is related tooreorganization brought about by the implant; (d) dreams and psyehologieM testing may also reveal the reorganiz- ing force being exerted by the hnplant.
The first two methods of assessment are obviously the most direct and scientifically satisfying.
Illustrative of the progressive problem identification brought about by the dynamic implant, is the case of a girl who had come to therapy suffering from long-term feelings of inadequacy, marked dependency and a highly ambivalent attitude toward the male figure. The cue statement was:
"... and there's . . . uh... there's still that tendency to idolize or despise.., that tendency still exists.., uh... I perhaps don't do either quite as strongly now.., or feel either, I should say... But...uh... there still is that feeling, that one is a king and the other is a piece of dirt. Well...I mean...uh.., as you very well know.., you know exactly the type of feltow that I go for, and.., uh... all others I just seem to have no use for."
Immediately after the first implanting, the patient stated: "I sound bitter and dissatisfied ; I sound as though I am reaching for something I can't have." A change in behavior took place follow- ing this first implanting. After reinforcement, a further change took pla~e, the patient saying that her boss whom she had hitherto found extremely attractive to her because of his ability and business drive was now no longer so;she did not think of him any more as being a tyeoon, and a love affair with him ter- minated. A third period of driving brought about no change at the time; but a week afterward the implant had most considerable consequences: She gave up, she sMd, the whole idea of a "king"; she had now fMlen in love with a man of her own age. Asked how
D. EWEN CAMERON~ 1Vf.D. 711
this came about, she said: "I simply made up my mind that since I can't get a 'king,' I would give myself a chance to like John. I don't put people on a pedestal like I used to.; I don't feel the same way I used to about the boss. I used to have a bitter grudge against my father for my troubles; now I see him as a weak person I don't admire."

1. Durability of Implant. The writer's experience has shown that the implant, if not reinforced, declines in its activity fairly rapidly after two weeks; although, on occasion, it can be found operative as long as two or three months after the first implant- ing. As indicated earlier in this paper, the intensity of the implant can actually be progressively increased by a suitable reinforce- ment at rates of once a week to once a month.
   
2. Shift.ing At~itud,es Towa.rd Cu.e Comm~nication. The writer has frequently encountered the interesting phenomenon of the according of negative values to the pattern of behavior repre- sented in the cue communication: "I hate my whining voice"; or: "I don't have to please people all the time; I'm not like that any more." This imparting of negative values is particularly likely to occur either after repeated implanting or with the progress of psychotherapy in general. A working premise concerning it is that, since the patient comes more clearly to identify the neurotic components in the cue communication and to organize more efficient behavioral patterns, he tends to reject the neurotic patterns and to express negative feelings toward them.
   
3. Mobilization of Action Tenc~e~c~es. An interesting question which arises is whether an implant can mobilize action tendencies laid down before the event embodied in the implant. Experience indicates that, while this does occur, it is much less usual than the mobilization of action tendencies laid down subsequent to the implant and derived from the basic situation outlined in the cue communication used in implanting.
   

By continued replaying of a cue communication, a persistent tendency to act in a way which can be predetermined in its general characteristics can be established. In other words~ by driving a cue communication, one can, without exception, set up in the patient a persisting tendency for that cue statement, and other
712 PSYCI-IIC DRIVING
components of the "community of action tendencies" from which it was drawn, to return to his awareness.

1. The dynamic implant thus established, and especially if re- inforced by repeated driving, tends to activate more and more of the components of the relevant community of action tend- encies. These components tend to appear in the patient's aware- heSS.
   
2. This materia]]y contributes to problem identification by the patient and the therapist, and, hence, facilitates the processes of therapeutic reorganization.
   
3. The dynamic qualities of the implant are functions of: (a) the amount and repetition of driving; (b) the intensity of the response; (c) defenses; (d) stress tolerance; (e) capacity for desensitization.
   

(5) The major continuing effects of the dynamic implant are: (a) progressive problem identification; (b) resulting reorganiza- tion of behavioral patterns; (c) negative evaluation of the neu- rotic patterns present in the cue communication used in driving.
Allan Memorial Institute of Psychiatry 1025 Pine Avenue, West Montreal 2, Canada

To answer the commonly asked question once and for all, I have done a deepdive and summarized the findings of all relevant research I could find.
I've established a benchmark for what level of sub concussive head impacts can be tolerated and for how long without developing CTE to compare with Judo.
It's crucial to recognize that while concussive impacts are associated with clinical signs and symptoms, sub‐concussive impacts are defined as occurring below this range and do not result in clinically‐diagnosed concussions. However, studies have proposed that an accumulation of these low‐level repetitive impacts does compromise the brain over time and may result in CTE later in life. (Source 1,2,3)
CTE (chronic traumatic encephalopathy) is the neurodegenerative disease that may be defined by symptoms of dementia, memory loss, and emotional instability. It's famously observed in American football and other athletes of full contact sports. (Source 1)
The two measures I will quote for head impact are G force for linear acceleration and rad/s2 for rotational acceleration. Rotational acceleration is believed by many to be a primary mechanism for diffuse brain injury, which is seen in CTE. Rotational acceleration is more dangerous than linear acceleration because it creates greater tension on bridging veins and brain (Source 3, 12)
Benchmark from American football study (source 2)
In all cases, the average head impact was ~1500 rad/ s2 and 19 G. What differentiated the players without CTE from the ones with CTE wasn't the magnitude of the head impacts but rather the accumulation of these sub concussive impacts.
Players without CTE = 4500 hits over 10 years with 6.57 M rad/s2 and 87k G accumulated to the head
Players with low stage CTE = 5500 hits over 12 years with 8.32 M rad/s2 and 107k G accumulated to the head
Players with high stage CTE = 7600 hits over 15 years with 12.26 M rad/s2 and 150k G accumulated to the head
Another study suggests that 1230 rad/s2 is to be used as the lower threshold for low severity injury, but does recognise that a definitive threshold separating impacts causing injury from impacts resulting in no injury is currently not known. (Source 1)
Now that we have these benchmarks, let's look at the Judo research to understand how much impact the brain sustains from being thrown on the ground with perfect ukemi (break fall).
First study (source 4)
Performed by two judo black belts with Tori doing Osoto Gari and Uke performing ukemi (break fall) on tatami with a forehead sensor.
Second study (source 5)
14 black and brown belt practitioners with forehead sensors performing ukemi on 6 different throws. (tomoe-nage, tai-otoshi, harai-tsuri-komi-ashi, seoi-nage, deashi-braai, uchi mata), and only impacts over 16G was captured with their measurement equipment.
Results
10% of 70 Uchi mata throws resulted in an impact over 16G. These inpacts have an avg of 28 G impact on the head and 3940 rad/s2. Uchi mata had the highest incidence of sub-concussive head accelerations.
Osoto gari had linear force: between 8.7 - 11.9 G, median 10.3 G Rotational force: between 506 - 852 rad/s2, median 679 rad/s2
The other five throws in the study had a very low incidence rate of exceeding the 16G threhold, at around 1% of the throws. When they did exceed the threhold, the results were 21-28 G and 1600-2800 rad/s2
Conclusion
Given the chosen threhold of 1230 rad/s2, which has been suggested as the lower limit for diffuse brain injury. It appears that for most of the time, Judo is safe when Ukemi (break fall) is applied correctly. Uchi mata had the highest risk of exceeding the threshold and would be dangerous in about 10% of the time, despite proper Ukemi. Osoto gari is often close to the threshold at 852 rad/s2.
However, there is currently no definitive threshold for impacts causing diffuse injury to the brain. It should be noted that Judo is often on the border to dangerous when throws are executed with high power. (Source 1)
Thought experiment
Each club and practitioner's training patterns and Ukemi skill may vary, but if we were to assume that you take a hard fall (exceeding the safe threshold of 1230 rad/s2) in 10% of the larger hip throws, as shown in source 5. Then, you might sustain 3 hard falls per training. Given 3 training sessions per week, 40 weeks per year, you will accumulate 360 hard falls per year (3×3×40). This means that after 12 years of practice, you will have endured 4500 hard hits. This is the same as an American football player without CTE. But if you were to continue at this pace for an additional 3 years (total 15 years), you will have accumulated 5500 hard hits. This is the same as a player with low stage CTE. After a total of 21 years of Judo, you would then have developed high stage CTE (7600 hits).
Now, if this calculation assumes only 1 hard hit per session, the outcome would be enormously different. It would then take 45 years of Judo before you risk developing low stage CTE.
This thought experiment highlights the importance of limiting your number of hard landings per training as much as possible. Note that these hard landings occur despite proper Ukemi in blackbelts, according to the cited studies. It means that you need to be careful with the intensity of Randori you tolerate from your partner and maximize the use of crash pads during static training. It's also advisable to avoid training with larger partners (>18 kg/ 40 pounds heavier than you), if possible. (Source 4,5,6)
If you are comparing judo to other forms of martial arts it should be noted that although judo carries risks it is much lower than for example MMA sparring where the average linear acceleration in head impacts are 38 G and the average rotational acceration is 2567 rad/s2 per hit. This means that the average hit in MMA is dangerous high above the safe threshold. (Source 7)
Additional conclusions from the cited studies to help minimize risk in Judo:
Novice vs experienced judokas
It's important to also make note that novice judokas experience much higher impacts compared to blacks belts. This is due to their lower proficiency in Ukemi (break fall) Just to mention a few things, the experienced judokas have greater knee exten­sion when falling backwards and their motion is greater in the extended position when the hand contact the mat and at the end of the motion. Novice judoka tends to flex the knee more than experienced judokas. Greater knee extension during the backward fall helps to control the velocity of backward falls better. Experienced judokas roll more on the back while landing and immediately lift the hands after slapping the ground to not impede the rolling motion. The timing of the ground slap is of importance.
Novices often hit their head on the tatami mat because of their delayed response to throwing techniques and their inability to instantly contract their neck muscles to perform a backward breakfall. Therefore, to reduce the risk of head injury in judo, it is desirable to actively introduce training in which an athlete is pushed by another person and the athlete instantly performs a backward breakfall. (source 6, 9, 10, 11)
Fatigue and Ukemi effectiveness
Ukemi (break fall) effectiveness is significantly affected by fatigue following high intensity exercise. To stay safe, it's recommended to rest properly between your set of throws or Randori rounds to let your heart rate come down before engaging again. (source 8)
Expected vs. unexpected throws
Additionally, it is shown that anticipating the impact improves the effectiveness of Ukemi and helps lower the impact forces to the brain. This is why being surprised by a throw in, for example Randori, carries much higher risk than static training, especially for novice practitioners. Therefore, it is necessary to develop backward breakfall training that incorporates unexpected conditions, while considering safety (Source 3,6)
Weight difference
Higher body weight of the thrower than that of the person being thrown is a factor in the occurrence of head injuries, with the risk of head injury increasing when the thrower is ≥ 18 kg heavier than the person being thrown. These findings suggest that practice with such a weight difference between judo practitioners should be avoided (source 6)
Undermat
The use of an under-mat did not prove to be adequate in reducing head impact. Although it lowered the linear acceration of the head, it did not impact the rotational acceleration, which has more severe outcomes (source 10)
Neck strength
No correlation was found between cervical (neck), muscle strength (anterior flexion), and head rotational acceleration. Although it is important to have at least average neck strength, improving neck strength further is not the simple solution to reducing impact on the head and neck. Instead, mastering optimal Ukemi technique to be able to disperse energy more through better movement patterns is a more viable solution. (Source 6, 10)
The most dangerous judo throw (immediate danger, not in terms of long term CTE risk)
From 1983 to 2011, 118 fatalities were reported in junior high and high schools in Japan. It was pointed out that being thrown by “osoto-gari” was the major cause of fatalities (18 cases, 25%). In an experiment involving adolescents who were not judo specialists, the risk of head injury was higher when the “osoto-gari” or “ouchi-gari” throwing technique was used than when the “ippon-seoi-nage” or “tai-otoshi” throwing technique was used.
The reason for this has been suggested to be that novice judokas were likely to take a more flexed upper body posture than the experienced judokas, especially from the middle to late phase of the osoto gari break fall. The flexed posture may lead to greater velocity due to the smaller contact of the arms made to the ground in that posture. Therefore, maintaining a straight posture during the breakfall motion may lead to a reduced risk of head injuries associated with osoto-gari. (Source 6, 13)
Sources can all be found by searching the following names on google:

1. Angular Acceleration Responses of American Football, Lacrosse and Ice Hockey Helmets Subject to Low‐Energy Impacts
   
2. Leveraging football accelerometer data to quantify associations between repetitive head impacts and chronic traumatic encephalopathy in males
   
3. Rotational Head Kinematics in Football Impacts: An Injury Risk Function for Concussion
   
4. Ukemi technique prevents the elevation of head acceleration of a person thrown by the judo technique 'Osoto-gari'
   
5. Florentin, T. and Henry, S. O. (2017) "HEAD ACCELERATIONS OF SIX TYPICAL JUDO THROWS AND BREAK FALL TECHNIQUES
   
6. Effects of unexpectedness on the risk of head injuries in judo novices and experts
   
7. Concussion and the Severity of Head Impacts in Mixed Martial Arts
   
8. Influence of fatigue on head angular acceleration in judo high-intensity exercise
   
9. Biomechanics of judo backward breakfall for different throwing techniques in novice judokas
   
10. A Systematic Review on the Biomechanics of Breakfall Technique (Ukemi) in Relation to Injury in Judo within the Adult Judoka Population
    
11. Biomechanics of the judo backward breakfall: comparison between experienced and novice judokas
    
12. Biomechanical Analysis of Judo-Related Head Injuries: A Pilot Study over Ages and Experience Levels
    
13. TRUNK BIOMECHANICS DURING BREAKFALL FOR OSOTO-GARI AND ITS ASSOCIATION WITH JUDO-RELATED HEAD INJURY RISK IN NOVICE JUDOKAS
    

Warning!!! It is very long, essay-ish and opinion versed:
1.Mondrichs overstayed their welcome. Maybe if they were tied with the Bridgertans storywise, for example, if Benedict taught them about society instead of him having another random lover I would be for living them in. But we have yet to see four episodes, so they may be somewhat important.

1. They did Benedict dirty with this repetitive storyline. I would've preferred him still pursuing art or even experimenting with sexuality (looking at people quietly wanting him to be bi) than another throwaway woman (especially when the woman in question is looking so out of place, giving me 'a mysterious woman spy' vibe 🤷).
   
2. Lord Debling is an entirely other issue. They missed marketing there. He seemed so much more interested in Penelope in the pictures and sneak peeks. I expected that he would be into her weird flirtation and would pursue her more himself. But instead, he came off as totally passive and dull. It was Penelope who had to make an effort. It just looked like another 'a man does not notice how much attention I give him' story. They could've created a relationship that contrasted with that of Colin so that he would brutally realize how wrong he was not giving Pen the kind of attention she wanted from him and deserved. Also, it could be turned into him being too into her, or maybe if he had paid so much attention to her and realized that she loves Colin (and he himself does not have a chance), he could've helped Pen to get his attention. But in a way that Pen would not know. So, for instance, he would pay extra attention to her when Colin was near, or he would flirt with her in an obvious way. Or maybe he would've turned out to be too much into her, so Colin would have to step in, or something. Anything but the Debling we got.
   
3. The lessons - a mediocre idea with terrible execution. Colin offers help. He does not know that he loves Pen already. They are friends. Cool. But then they are a constant awkward mess even before the kiss, for what? Why they could not make them banter more like friends would do. The scene with a dead horse? (Great. Magnificent humor. Get me more of that through all of their interactions. They act as if they were almost strangers, and Colin suddenly decides that 'this girl whom I sometimes make small talk with needs help with finding a husband, so I will help her'. I wanted to watch Pen and Collins fall in love. Instead, I got two almost strangers, this girl who struggles to talk right around men and a wanna-be-lady's-man who's not supposed to like being one but is suspiciously too into it. Putting him with prostitutes right next to scenes with Pen when he looks happier with them does not do them any favors. They could've made him not enjoying this life a lot clearer. His journal excerpt (How can you be so intimate but yet so distant) and his interaction with prostitutes (I am not in the mood) are seriously not enough (and, like, he stays and watches❔️ Yeah, completely not into it...)
   
4. Moreover, I am disappointed because they had a good reason to give the role of a helper of Pen to Lady Danbury. It would be seriously better. They would not have to think of the lessons for Colin, and it would make sense that they do not see each other so frequently because they would run into each other at social events. This would resolve the problem of Colin not giving Pen any real advice and him giving her 2 lessons (?) before they decided to end them. Also, after the speech of Lady Danbury to Kate (previous season) it would make sense that she would want to help Pen. Maybe after the ball when the Queen asked about her. It would also make for a good excuse to look more into Lady Danbury and her relationship with her brother, and it would not prevent her from helping Fran as well.
   
5. They could've cut scenes of El and Cressida because they just took time and talked, especially the times when Cressida was talking with Deblin. Like, I get it rivalry and all but we could have Cressida flirting with bachelors in the background and not make the scene all about it but here we suddenly can't. In season 1 we got that she was after the Prince, and we didn't have to hear their conversations, but we saw them talking, and it was enough to make a point to show the story. They can keep her family life and all, but they could've just cut the time on the Debling rivalry.
   
6. The balloon scene - could've been good, but they shot it so poorly it turned out comedic. Get a big wind, make the balloon move fast, make the balloon knock something at Pen, or maybe put some animals in the vicinity and the balloon makes them afraid (it would be particularly funny to have some animal related to Zebra as irony to Queen previous statement about 'zebra themed party')
   

Overall, the Mondrichs and Benedict's hookups and scenes with Cressida could've been utilized better f.e. changed to Lady Danbury helping Pen, developing Colin's hate for a 'lady's man' life. The lessons could've been changed for sudden run-ins, and no one would complain. Pen and Colin could've bantered more, been less awkward, and turned awkward after the kiss.
The series lost a lot of the heartfelt feeling it always gave me, and I don't know where it went this season (maybe Daphne stole it while living for good lol).
THOSE ARE MY OPINIONS ONLY SO TAKE IT WITH A GRAIN OF SALT. The second time watching made me like this season more and it has much to offer but this post is about criticism not the highlights so seriously I do not hate it I am just picky with too high expectations after season 2.

Streamlining Workflow with Google Apps Script

Integrating Google Forms and Google Spreadsheet with Apps Script offers a powerful way to automate email notifications, streamlining the process of managing leave requests and other form submissions. This approach allows for the development of customized workflows that can significantly enhance efficiency and accuracy in data handling. By leveraging Google's ecosystem, businesses and educational institutions can automate the tedious task of manual data entry and email correspondence, freeing up valuable time for more strategic tasks. The process involves capturing form submissions, processing the data within a spreadsheet, and then using Apps Script to send tailored email notifications based on the information received.
The versatility of Google Apps Script lies in its ability to connect various Google services seamlessly, making it an invaluable tool for creating sophisticated, automated systems with minimal coding expertise. This method not only simplifies administrative processes but also ensures that stakeholders are promptly informed about leave requests or any form submissions, enhancing communication and operational efficiency. With a few lines of code, one can set up a fully automated system that handles form submissions, spreadsheet updates, and email notifications, thereby optimizing workflow and improving overall productivity.

Command	Description
FormApp.getActiveForm()	Retrieves the current active Google Form.
SpreadsheetApp.openById()	Opens a Google Spreadsheet by its unique identifier.
ScriptApp.newTrigger()	Creates a new trigger in the Apps Script project.
MailApp.sendEmail()	Sends an email with the specified subject and body.

Harnessing Google Apps Script for Enhanced Email Automation

Google Apps Script stands out as a robust, yet accessible platform for automating repetitive tasks, including the process of sending emails based on user interactions with Google Forms and Spreadsheets. This scripting language, based on JavaScript, enables developers and non-developers alike to construct custom functions, automate workflows, and integrate with Google Workspace applications seamlessly. The potential for enhancing productivity is significant, particularly in scenarios requiring the automation of email notifications following form submissions. By linking Google Forms to a Spreadsheet, and subsequently triggering an email notification through Apps Script, users can create a highly efficient system for managing data submissions. This process is especially valuable in environments such as HR departments, educational institutions, and service desks, where timely communication is crucial.
The practical applications of such automation extend beyond simple email notifications. With Google Apps Script, it's possible to customize emails based on the form responses, including conditional content that reflects the specifics of each submission. This level of customization ensures that recipients receive relevant, personalized information, enhancing the effectiveness of communication. Additionally, the script can be expanded to include logging responses in a Spreadsheet, creating calendar events, or even updating databases in real-time. The integration capabilities of Google Apps Script with other APIs and online services further expand its utility, making it an invaluable tool for creating sophisticated, automated workflows that save time, reduce errors, and improve overall operational efficiency.

Automating Email Notifications with Apps Script

JavaScript in Google Apps Script

const form = FormApp.getActiveForm(); const formResponses = form.getResponses(); const latestResponse = formResponses[formResponses.length - 1]; const responseItems = latestResponse.getItemResponses(); const emailForNotification = "admin@example.com"; let messageBody = "A new leave request has been submitted.\\n\\nDetails:\\n"; responseItems.forEach((itemResponse) => { messageBody += itemResponse.getItem().getTitle() + ": " + itemResponse.getResponse() + "\\n"; }); MailApp.sendEmail(emailForNotification, "New Leave Request", messageBody); 

Enhancing Workflow Efficiency with Google Apps Script

Google Apps Script offers a unique opportunity for organizations to automate and streamline their workflows, particularly when it comes to managing form submissions and sending out email notifications. This powerful scripting platform enables users to connect various Google Workspace services, such as Forms, Sheets, and Gmail, to create customized solutions that can significantly reduce manual labor and improve data management processes. For instance, when a Google Form is submitted, Apps Script can automatically parse the responses, update them in a Google Sheet, and then trigger personalized email notifications. This seamless integration not only saves time but also ensures accuracy and timeliness in communications.
The adaptability of Google Apps Script goes beyond simple automation. It allows for the development of complex applications that can include user interfaces, access to external databases, and integration with other cloud services. This makes it an invaluable tool for businesses looking to optimize their operations without extensive investment in custom software development. Moreover, the accessibility of Apps Script, with its JavaScript foundation, means that even those with limited programming experience can begin to automate tasks, empowering teams to focus on more strategic activities rather than getting bogged down in routine administrative tasks.

Top Questions on Google Apps Script Email Automation

1. Question: Can Google Apps Script send emails automatically?
2. Answer: Yes, Google Apps Script can send emails automatically using the MailApp service or GmailApp service, depending on the level of functionality needed.
3. Question: How do I trigger an email after a Google Form submission?
4. Answer: You can trigger an email by creating an Apps Script function that listens for the form's onSubmit event and then uses the MailApp service to send the email.
5. Question: Can I customize the email content based on form responses?
6. Answer: Absolutely, you can use the data collected from the form responses to customize the email content, ensuring that each recipient gets personalized information.
7. Question: Is it possible to attach files to the automated emails?
8. Answer: Yes, using the GmailApp service, you can attach files stored in Google Drive or other accessible locations to your automated emails.
9. Question: Can I limit the number of emails sent to avoid spamming?
10. Answer: Yes, you can implement logic within your script to limit the number of emails sent, either by tracking responses in a Google Sheet or setting up quotas within the script itself.

Empowering Efficiency Through Automation

Google Apps Script emerges as a pivotal tool in modernizing and streamlining administrative tasks, particularly in the realm of handling form submissions and automating corresponding email notifications. Its ability to knit together various Google Workspace services into a cohesive workflow presents a significant opportunity for organizations to enhance operational efficiency. By automating these processes, entities can allocate their resources more effectively, focusing on strategic initiatives rather than mundane tasks. The practicality of Google Apps Script, underpinned by its extensive customization options, ensures that each organization can tailor its use to meet specific needs. Furthermore, the platform's accessibility invites a broader spectrum of users to develop solutions, democratizing the ability to innovate and optimize. As businesses and educational institutions continue to seek ways to improve productivity, Google Apps Script stands out as a versatile and valuable ally in the pursuit of streamlined operations and enhanced communication strategies.
https://www.tempmail.us.com/en/appscript/automating-email-notifications-with-google-apps-script-on-form-submissions

So I've been collecting Naruto Kayou Cards for a few months now, and today I was thinking about this...and I really think they are a scam set to trap Naruto fans. I wanted to see if anyone agrees with my points.
First, let me start by saying I love the artwork and Naruto (obviously), and this isn't even about the pull rates, which I think I've always been kind of lucky with. I can only think of three or four absolutely shitty boxes out of the many boxes I've gotten.
The first problem is about the lack of diversity. The R's and SR's are a complete waste of cards. Having three or four of these per pack is a crime. There aren't that many cards to justify this absurdity. You'll get a ton of repeated cards that hold zero trading value. It's an absolute wasted opportunity to have cards with low value but that people would still collect and trade for the artwork or to complete the collection because it's not difficult to get all of them, and it's a nightmare of repetition.
The second problem is the repeated artwork. It also annoys me how they repeat some designs in the lower rarity levels. Of course, this is not exclusive to Kayou, but I think they have overdone it. It's just a lack of effort.
The third problem is related to the first one. There are five cards per pack, with, in most tiers, three or four cards that are complete shit. This is also the problem with having that absurdity of Rs and SRs per pack. I would prefer to pay more and have, for example, 12 cards per pack with more diversity instead of this current number of hits, which brings us to the...
The fourth problem is the price. You can still find some good deals, but overall it's really a rip-off considering the number of cards that are worth something, whether for trading, collecting, or selling. And since the "boom" of Naruto Kayou, I've seen some crazy prices. Again, I wouldn't mind paying more if they would provide better quality and diversity, which I feel is intentional.
In my opinion, after opening a fair amount of boxes, if you want to collect, you're better off buying individual cards... but that kind of destroys the magic of opening packs and savoring your finds, but it will be much cheaper.
And it's a shame because I think Naruto Kayou has a lot of wasted potential and will never evolve from this legitimate scam.
What do you guys think?

Apologies if this is not the right subreddit to post this in, but I believe it is appropriate. I have posted this in another sub as well but I thought I might get some feedback here that could be helpful. So to provide some context, I (28F) recently started a law firm with my mom, (56F) who is an attorney. For more context, I the oldest of six kids in our family. I was working on my own business at the time, but when my mom’s paralegal up and left her right before Christmas, she needed help, plus I had experience starting a business and was previously in the legal field, so I agreed to come on as her legal assistant/business helpeetc. We agreed on a set weekly amount for pay, which wasn’t crazy high but solid and I felt like I could use the opportunity to help my mom build something lucrative after leaving her old firm (where she was severely monetarily taken advantage of, and is going to have to sue her old business partners for what they owe her + her partner investment at the old firm, but that’s a story for another day) The thing is, I was wary going into this my mom would not be able to financially keep our agreement, because she has big dreams and ideas but doesn’t always take the practical steps in terms of things like budgeting (the fights and struggles this has caused in my house between my parents my whole life and the financial issues we’ve experienced as a result have shown me she has no plans on changing this but I am also empathetic because she is crazy busy and my other siblings, one who is severely mentally ill and lives at home, take up an insane amount of time)
Now I want to hammer in that my mom is a good person, with a big heart. My dad is a good person too, which is why I feel this situation is so difficult for me to navigate. They have their issues and personally to me, seem to act like children in many ways in how conflicts are handled and how they emotionally react (my mom especially, she cares so much how people feel about her but doesn’t realize that her fuse is short and she will just yell and scream at everyone) They have not had an easy set of cards dealt to them in regards to all of us kids and the individual issues, and I have always had so much empathy for them. However, the older I’ve gotten and more I’ve experienced, the more I realize a lot of the issues we had growing up, whether it was financial or my siblings behavior and issues, probably could’ve been handled in a much healthier way which would’ve saved a lot of the pain experienced by continuing the cycles and behaviors that were causing the issues in the first place. My parents stayed married, but basically tolerated one another and never had a united front, were always talking bad about one another and could never agree on proper ways to fix what was happening, so it was a chaotic mess all the time, where the more difficult kids were enabled and it felt like those of us who actually had more of our shit together, were just expected to either help with it or just deal with the fact they didn’t have time for us because of the time my siblings took up. An example of this would be when I was in college, I was on a full scholarship (full tuition, but not room and board) because of my academic and athletic scholarship, so I ran track and XC to help pay for school. I worked two jobs as well to pay for my rent, and barely slept as I was in pre-med. I am the oldest of the 6 kids in my family, and in my family, I was the good kid. I didn’t ask for much, always figured my stuff out, etc. They “never needed to worry about me” so they didn’t. However, during that time when it went to school, my dad lost his job and my parents were fighting more and more. My siblings had less tolerance for their “bullshit” but they also fought each other because of the issues at home. Therefore, they began to struggle a lot. My mom was always borrowing money from me and I had no idea when I’d get it back. I would struggle and could barely afford my NEEDS. I barely bought books I needed and would often be finding ways to take pictures of my friend’s books, etc. Anyway, this was consistent and even to the point where I could not buy myself the sashes and what not for my graduation (I was in the honors courses, extracurricular, scholar athlete, Greek life, graduated top of my class for my major etc) because my mom had borrowed almost 1000 from me…and gave it to my sister who was studying abroad. This sister has never cared about taking my parents money or caring about how their financial situation affects everyone. She has since been diagnosed with BPD…I get that I have some unresolved family issues, so that may be coming out as I type here, but I also wanted to provide context into why I feel the way I do. I was also heavily parentified being the oldest, with an extreme sense of responsibility, even as an adult, for the well being of my siblings and parents. I have”sacrificed” (I say it in quotes because I know it was my choice and I take responsibility, but looking back I don’t agree with how it was all handled and felt my parents should’ve been more of the adults and allowed me to try and build my young adult like without the burden of caring for children that were not mine) a lot of time, money and opportunity so I could focus on trying to “save “ them (I have gone over this complex I have in therapy and I’m still working through it, but take responsibility for my actions in perpetuating the cycle)
I could go into more detail about the difficulties and struggles my parents face, and how life has gotten harder and harder for them. My mom is an enabler because she has trouble with people disliking her, yet burns bridges with people who genuinely care because she ends up accidentally taking advantage of them to focus on for example, her kids who are not actually doing anything to help and causing more issues in the family. My siblings are beginning to hate her, threaten to cut her off from meeting her future grandkids, etc I will be on the last line for cutting her off, because I genuinely believe she is such a loving person who has never been able to totally focus on her and has just been running on fumes for years. However, through therapy I’ve also come to recognize she is an adult who has had the opportunity to change her behavior (my dad too) to try and get a more positive outcome, but they have chosen to remain stubborn, and say it is because they have no time, but that part just isn’t true, it would take a lot of work and reorganizing at this point, but changes could be made. I have literally bought my mom therapy appointments, set them up, (I control her calendar for work so I know when she’s free and I handle all business scheduling so I know what appointments are important to the firm so I try to schedule when we have a few days without major deadlines) and my mom still says she is too busy
Anyway, finally to the point of this post, my mom owes me over 10k in promised payment, and I have been working full time. She has given me the amount I’ve needed to pay my half of the rent at my place (I live with my partner, who is genuinely shocked at the behavior of my parents and our family dynamics, but is very loving and supporting regardless, even to my family) but besides that, I’ve just been floundering. I don’t know where the money goes after we bill, but my mom is always complaining we don’t have money in the account. However she has not forgotten she owes me, and always brings up how she wants to get me paid, but I am continuing to struggle and don’t know when that will happen. I know she will, but when? The other aspect of this is my sister (the one with BPD) just graduated law school and was supposed to help us with the firm to help pay for her bar prep and bar fees, but she has managed to avoid work and I know my mom is just going to pay for it all anyway. However, I’m not mad cause I’m very proud of my sister and what she has accomplished with her mental health struggles however, that means her work has fallen into me, and not only am I helping with my duties and hers,I am expected to set up all the automations in the firm, handle all the schedules and set up a business for success. That takes time on top of all I am doing, and my mom gets easily frustrated with technology and things and complains this should all be easier and we should get it set up to be automated, have draft emails, etc . I tell her that takes time and money, but she has this idea we can just hire someone to take on the extra work but I’m not even being paid right now, so even the money that could potentially go to me, the person working full time, would be given to a VA to help push the firm forward. I would be okay with that if I really believed we were on our way to making a successful sful, lucrative business, but because of all the issues at home, my mom has barely been able to work. She is emotional and has a short fuse a lot, and it’s hard for me to keep things moving when I need an attorney to do most of the big thing clients pay for when working with a firm. Now she has gotten ill (which I am so upset about but my guess is it is due to stress) and has been out of work for two weeks besides hitting deadlines that need to be hit, she will call me screaming , crying (edit since input syringe instead of crying the first time) that she can’t do this anymore, can’t do the firm, etc. But then being happy and excited the very next day. I always tell her I just want her happy and to take care of herself, but she needs to let me know so I can find new work and build my life. I feel stuck in limbo and know I need to take actions to help myself, but I still wanted to try and help my mom as much as possible and see if the firm could still be built. However, yesterday my non working sister (studying for the bar) called me to show me the new outfits she had gotten and how she was going to go out with some friends, I love those types of calls from my sister but it made me realize my mom was still giving her money, fun money not just get ready for the bar money, and I’m here struggling and my partner is picking up the slack. One of my brothers, who I have lent money to multiple times in the last few months (he always pays me back in a timely manner) who said he couldn’t afford to do things he wanted and had to sell his EDC ticket, is now at EDC and my mom has no money in her account so my guess is she helped him. My dad works too so they are surviving, but she complains about the mortgage and bills to me a lot, so I feel guilty adding to her stress especially with her being sick, but I’m kind of at the end of my rope here after seeing she is still not prioritizing paying her employee (even if I am her daughter and have a lot of empathy for the situation)
I know I wrote a lot but I feel like I could have provided so much more context. Once she is feeling better I know I’m going to have another talk with her, but I don’t know if I should just say I’m done once we finish up our current case load and to not bring on any more clients unless she hires someone else cause I feel she’d be more likely to pay them. I want to believe it could be different and my mom could figure out how to build this firm professionally going forward, but I just don’t know if I’m being idealistic. Anyways, I do really wish I could get the money I’m owed to put into my own business that I have put on hold to do this (thinking I could help my mom AND save some money to put towards my own business which my mom was on board with and wanted because she sees the firm as a way to help all the kids finance their own dreams, and she really means that which is one example of why I say my mom is genuinely a good and kind person who loves her kids) part of me wants to say that if she wants to keep saying she “can’t do this” anymore that I am quitting and I hope she takes the time to focus on taking care of herself because I can’t stand by and watch her do the same stuff that will stress her into an early grave which genuinely scares me but is how I feel. Granted even if she isn’t working she is kind of addicted to stress so it may not change anything but there is part of me that hopes it would. Plus, they obviously need the money so it is probably just wishful thinking.
Anyway, sorry for the ramble, maybe I needed to get my feelings out, but I am wondering if anyone has any advice? Have you been in a situation like this and how did you handle it? Please be kind to my parents, but truthful as any help would be appreciated.
TLDR Summary
Busy Mom of 6 with good heart is my employer and has not paid me what is owed, but spends money on my siblings and has a history of doing things like this. I know she is struggling financially. How do I approach her and what is my best course of action to resolve and help versus just being harsh and cutting it all off? I love my mom, but I am getting worn down by the situation(s) and the repetitive cycles that I know I have to change, just trying to figure out how