GOOOOOOOOOOD MORNING SUPERSTONKERS! HAHA. It's me again. Yeah, i slipped past the defenses again to drop this off so you can all refresh yourselves on the state of FUD and disinformation in this protracted fight against the legal larcenists doing their best to try and get you to sell. Please spread this amongst the holders, the more people know the less power they have over us holders. We don't sell until we get a call from marge, and that's always been the play.
TLDR: This is a set of tactics used by the Alphabet Boys(CIA, FBI, DEA) to control and manipulate us into drama to collapse our communities and movements. And should be read in full by anyone willing and wanting to learn how these things work.
I've come to notice recently, people keep asking me to repost this for the sake of keeping the new people abreast on what needs to be done to protect the holders of GME. Beneath here will be a detailed account on what you need to be aware of in your online interactions, to avoid being taken for a fool!
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1. COINTELPRO Techniques for dilution, misdirection and control of a internet forum
2. Twenty-Five Rules of Disinformation
3. Eight Traits of the Disinformationalist
4. How to Spot a Spy (Cointelpro Agent)
5. Seventeen Techniques for Truth Suppression

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COINTELPRO Techniques for dilution, misdirection and control of a internet forum..
There are several techniques for the control and manipulation of a internet forum no matter what, or who is on it. We will go over each technique and demonstrate that only a minimal number of operatives can be used to eventually and effectively gain a control of a 'uncontrolled forum.'
Technique #1 - 'FORUM SLIDING'
If a very sensitive posting of a critical nature has been posted on a forum - it can be quickly removed from public view by 'forum sliding.' In this technique a number of unrelated posts are quietly prepositioned on the forum and allowed to 'age.' Each of these misdirectional forum postings can then be called upon at will to trigger a 'forum slide.' The second requirement is that several fake accounts exist, which can be called upon, to ensure that this technique is not exposed to the public. To trigger a 'forum slide' and 'flush' the critical post out of public view it is simply a matter of logging into each account both real and fake and then 'replying' to prepositioned postings with a simple 1 or 2 line comment. This brings the unrelated postings to the top of the forum list, and the critical posting 'slides' down the front page, and quickly out of public view. Although it is difficult or impossible to censor the posting it is now lost in a sea of unrelated and unuseful postings. By this means it becomes effective to keep the readers of the forum reading unrelated and non-issue items.
Technique #2 - 'CONSENSUS CRACKING'
A second highly effective technique (which you can see in operation all the time at www.abovetopsecret.com
) is 'consensus cracking.' To develop a consensus crack, the following technique is used. Under the guise of a fake account a posting is made which looks legitimate and is towards the truth is made - but the critical point is that it has a VERY WEAK PREMISE without substantive proof to back the posting. Once this is done then under alternative fake accounts a very strong position in your favor is slowly introduced over the life of the posting. It is IMPERATIVE that both sides are initially presented, so the uninformed reader cannot determine which side is the truth. As postings and replies are made the stronger 'evidence' or disinformation in your favor is slowly 'seeded in.' Thus the uninformed reader will most like develop the same position as you, and if their position is against you their opposition to your posting will be most likely dropped. However in some cases where the forum members are highly educated and can counter your disinformation with real facts and linked postings, you can then 'abort' the consensus cracking by initiating a 'forum slide.'
Technique #3 - 'TOPIC DILUTION'
Topic dilution is not only effective in forum sliding it is also very useful in keeping the forum readers on unrelated and non-productive issues. This is a critical and useful technique to cause a 'RESOURCE BURN.' By implementing continual and non-related postings that distract and disrupt (trolling ) the forum readers they are more effectively stopped from anything of any real productivity. If the intensity of gradual dilution is intense enough, the readers will effectively stop researching and simply slip into a 'gossip mode.' In this state they can be more easily misdirected away from facts towards uninformed conjecture and opinion. The less informed they are the more effective and easy it becomes to control the entire group in the direction that you would desire the group to go in. It must be stressed that a proper assessment of the psychological capabilities and levels of education is first determined of the group to determine at what level to 'drive in the wedge.' By being too far off topic too quickly it may trigger censorship by a forum moderator.
Technique #4 - 'INFORMATION COLLECTION'
Information collection is also a very effective method to determine the psychological level of the forum members, and to gather intelligence that can be used against them. In this technique in a light and positive environment a 'show you mine so me yours' posting is initiated. From the number of replies and the answers that are provided much statistical information can be gathered. An example is to post your 'favorite weapon' and then encourage other members of the forum to showcase what they have. In this matter it can be determined by reverse proration what percentage of the forum community owns a firearm, and or a illegal weapon. This same method can be used by posing as one of the form members and posting your favorite 'technique of operation.' From the replies various methods that the group utilizes can be studied and effective methods developed to stop them from their activities.
Technique #5 - 'ANGER TROLLING'
Statistically, there is always a percentage of the forum posters who are more inclined to violence. In order to determine who these individuals are, it is a requirement to present a image to the forum to deliberately incite a strong psychological reaction. From this the most violent in the group can be effectively singled out for reverse IP location and possibly local enforcement tracking. To accomplish this only requires posting a link to a video depicting a local police officer massively abusing his power against a very innocent individual. Statistically of the million or so police officers in America there is always one or two being caught abusing there powers and the taping of the activity can be then used for intelligence gathering purposes - without the requirement to 'stage' a fake abuse video. This method is extremely effective, and the more so the more abusive the video can be made to look. Sometimes it is useful to 'lead' the forum by replying to your own posting with your own statement of violent intent, and that you 'do not care what the authorities think!!' inflammation. By doing this and showing no fear it may be more effective in getting the more silent and self-disciplined violent intent members of the forum to slip and post their real intentions. This can be used later in a court of law during prosecution.
Technique #6 - 'GAINING FULL CONTROL'
It is important to also be harvesting and continually maneuvering for a forum moderator position. Once this position is obtained, the forum can then be effectively and quietly controlled by deleting unfavourable postings - and one can eventually steer the forum into complete failure and lack of interest by the general public. This is the 'ultimate victory' as the forum is no longer participated with by the general public and no longer useful in maintaining their freedoms. Depending on the level of control you can obtain, you can deliberately steer a forum into defeat by censoring postings, deleting memberships, flooding, and or accidentally taking the forum offline. By this method the forum can be quickly killed. However it is not always in the interest to kill a forum as it can be converted into a 'honey pot' gathering center to collect and misdirect newcomers and from this point be completely used for your control for your agenda purposes.
CONCLUSION
Remember these techniques are only effective if the forum participants DO NOT KNOW ABOUT THEM. Once they are aware of these techniques the operation can completely fail, and the forum can become uncontrolled. At this point other avenues must be considered such as initiating a false legal precidence to simply have the forum shut down and taken offline. This is not desirable as it then leaves the enforcement agencies unable to track the percentage of those in the population who always resist attempts for control against them. Many other techniques can be utilized and developed by the individual and as you develop further techniques of infiltration and control it is imperative to share then with HQ.
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Twenty-Five Rules of Disinformation
Note: The first rule and last five (or six, depending on situation) rules are generally not directly within the ability of the traditional disinfo artist to apply. These rules are generally used more directly by those at the leadership, key players, or planning level of the criminal conspiracy or conspiracy to cover up.
1. Hear no evil, see no evil, speak no evil. Regardless of what you know, don't discuss it -- especially if you are a public figure, news anchor, etc. If it's not reported, it didn't happen, and you never have to deal with the issues.
2. Become incredulous and indignant. Avoid discussing key issues and instead focus on side issues which can be used show the topic as being critical of some otherwise sacrosanct group or theme. This is also known as the 'How dare you!' gambit.
3. Create rumor mongers. Avoid discussing issues by describing all charges, regardless of venue or evidence, as mere rumors and wild accusations. Other derogatory terms mutually exclusive of truth may work as well. This method which works especially well with a silent press, because the only way the public can learn of the facts are through such 'arguable rumors'. If you can associate the material with the Internet, use this fact to certify it a 'wild rumor' from a 'bunch of kids on the Internet' which can have no basis in fact.
4. Use a straw man. Find or create a seeming element of your opponent's argument which you can easily knock down to make yourself look good and the opponent to look bad. Either make up an issue you may safely imply exists based on your interpretation of the opponent/opponent arguments/situation, or select the weakest aspect of the weakest charges. Amplify their significance and destroy them in a way which appears to debunk all the charges, real and fabricated alike, while actually avoiding discussion of the real issues.
5. Sidetrack opponents with name calling and ridicule. This is also known as the primary 'attack the messenger' ploy, though other methods qualify as variants of that approach. Associate opponents with unpopular titles such as 'kooks', 'right-wing', 'liberal', 'left-wing', 'terrorists', 'conspiracy buffs', 'radicals', 'militia', 'racists', 'religious fanatics', 'sexual deviates', and so forth. This makes others shrink from support out of fear of gaining the same label, and you avoid dealing with issues.
6. Hit and Run. In any public forum, make a brief attack of your opponent or the opponent position and then scamper off before an answer can be fielded, or simply ignore any answer. This works extremely well in Internet and letters-to-the-editor environments where a steady stream of new identities can be called upon without having to explain criticism, reasoning -- simply make an accusation or other attack, never discussing issues, and never answering any subsequent response, for that would dignify the opponent's viewpoint.
7. Question motives. Twist or amplify any fact which could be taken to imply that the opponent operates out of a hidden personal agenda or other bias. This avoids discussing issues and forces the accuser on the defensive.
8. Invoke authority. Claim for yourself or associate yourself with authority and present your argument with enough 'jargon' and 'minutia' to illustrate you are 'one who knows', and simply say it isn't so without discussing issues or demonstrating concretely why or citing sources.
9. Play Dumb. No matter what evidence or logical argument is offered, avoid discussing issues except with denials they have any credibility, make any sense, provide any proof, contain or make a point, have logic, or support a conclusion. Mix well for maximum effect.
10. Associate opponent charges with old news. A derivative of the straw man -- usually, in any large-scale matter of high visibility, someone will make charges early on which can be or were already easily dealt with - a kind of investment for the future should the matter not be so easily contained.) Where it can be foreseen, have your own side raise a straw man issue and have it dealt with early on as part of the initial contingency plans. Subsequent charges, regardless of validity or new ground uncovered, can usually then be associated with the original charge and dismissed as simply being a rehash without need to address current issues -- so much the better where the opponent is or was involved with the original source.
11. Establish and rely upon fall-back positions. Using a minor matter or element of the facts, take the 'high road' and 'confess' with candor that some innocent mistake, in hindsight, was made -- but that opponents have seized on the opportunity to blow it all out of proportion and imply greater criminalities which, 'just isn't so.' Others can reinforce this on your behalf, later, and even publicly 'call for an end to the nonsense' because you have already 'done the right thing.' Done properly, this can garner sympathy and respect for 'coming clean' and 'owning up' to your mistakes without addressing more serious issues.
12. Enigmas have no solution. Drawing upon the overall umbrella of events surrounding the crime and the multitude of players and events, paint the entire affair as too complex to solve. This causes those otherwise following the matter to begin to lose interest more quickly without having to address the actual issues.
13. Alice in Wonderland Logic. Avoid discussion of the issues by reasoning backwards or with an apparent deductive logic which forbears any actual material fact.
14. Demand complete solutions. Avoid the issues by requiring opponents to solve the crime at hand completely, a ploy which works best with issues qualifying for rule 10.
15. Fit the facts to alternate conclusions. This requires creative thinking unless the crime was planned with contingency conclusions in place.
16. Vanish evidence and witnesses. If it does not exist, it is not fact, and you won't have to address the issue.
17. Change the subject. Usually in connection with one of the other ploys listed here, find a way to side-track the discussion with abrasive or controversial comments in hopes of turning attention to a new, more manageable topic. This works especially well with companions who can 'argue' with you over the new topic and polarize the discussion arena in order to avoid discussing more key issues.
18. Emotionalize, Antagonize, and Goad Opponents. If you can't do anything else, chide and taunt your opponents and draw them into emotional responses which will tend to make them look foolish and overly motivated, and generally render their material somewhat less coherent. Not only will you avoid discussing the issues in the first instance, but even if their emotional response addresses the issue, you can further avoid the issues by then focusing on how 'sensitive they are to criticism.'
19. Ignore proof presented, demand impossible proofs. This is perhaps a variant of the 'play dumb' rule. Regardless of what material may be presented by an opponent in public forums, claim the material irrelevant and demand proof that is impossible for the opponent to come by (it may exist, but not be at his disposal, or it may be something which is known to be safely destroyed or withheld, such as a murder weapon.) In order to completely avoid discussing issues, it may be required that you to categorically deny and be critical of media or books as valid sources, deny that witnesses are acceptable, or even deny that statements made by government or other authorities have any meaning or relevance.
20. False evidence. Whenever possible, introduce new facts or clues designed and manufactured to conflict with opponent presentations -- as useful tools to neutralize sensitive issues or impede resolution. This works best when the crime was designed with contingencies for the purpose, and the facts cannot be easily separated from the fabrications.
21. Call a Grand Jury, Special Prosecutor, or other empowered investigative body. Subvert the (process) to your benefit and effectively neutralize all sensitive issues without open discussion. Once convened, the evidence and testimony are required to be secret when properly handled. For instance, if you own the prosecuting attorney, it can insure a Grand Jury hears no useful evidence and that the evidence is sealed and unavailable to subsequent investigators. Once a favorable verdict is achieved, the matter can be considered officially closed. Usually, this technique is applied to find the guilty innocent, but it can also be used to obtain charges when seeking to frame a victim.
22. Manufacture a new truth. Create your own expert(s), group(s), author(s), leader(s) or influence existing ones willing to forge new ground via scientific, investigative, or social research or testimony which concludes favorably. In this way, if you must actually address issues, you can do so authoritatively.
23. Create bigger distractions. If the above does not seem to be working to distract from sensitive issues, or to prevent unwanted media coverage of unstoppable events such as trials, create bigger news stories (or treat them as such) to distract the multitudes.
24. Silence critics. If the above methods do not prevail, consider removing opponents from circulation by some definitive solution so that the need to address issues is removed entirely. This can be by their death, arrest and detention, blackmail or destruction of their character by release of blackmail information, or merely by destroying them financially, emotionally, or severely damaging their health.
25. Vanish. If you are a key holder of secrets or otherwise overly illuminated and you think the heat is getting too hot, to avoid the issues, vacate the kitchen.
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Eight Traits of the Disinformationalist
1) Avoidance. They never actually discuss issues head-on or provide constructive input, generally avoiding citation of references or credentials. Rather, they merely imply this, that, and the other. Virtually everything about their presentation implies their authority and expert knowledge in the matter without any further justification for credibility.
2) Selectivity. They tend to pick and choose opponents carefully, either applying the hit-and-run approach against mere commentators supportive of opponents, or focusing heavier attacks on key opponents who are known to directly address issues. Should a commentator become argumentative with any success, the focus will shift to include the commentator as well.
3) Coincidental. They tend to surface suddenly and somewhat coincidentally with a new controversial topic with no clear prior record of participation in general discussions in the particular public arena involved. They likewise tend to vanish once the topic is no longer of general concern. They were likely directed or elected to be there for a reason, and vanish with the reason.
4) Teamwork. They tend to operate in self-congratulatory and complementary packs or teams. Of course, this can happen naturally in any public forum, but there will likely be an ongoing pattern of frequent exchanges of this sort where professionals are involved. Sometimes one of the players will infiltrate the opponent camp to become a source for straw man or other tactics designed to dilute opponent presentation strength.
5) Anti-conspiratorial. They almost always have disdain for 'conspiracy theorists' and, usually, for those who in any way believe JFK was not killed by LHO. Ask yourself why, if they hold such disdain for conspiracy theorists, do they focus on defending a single topic discussed in a NG focusing on conspiracies? One might think they would either be trying to make fools of everyone on every topic, or simply ignore the group they hold in such disdain. Or, one might more rightly conclude they have an ulterior motive for their actions in going out of their way to focus as they do.
6) Artificial Emotions. An odd kind of 'artificial' emotionalism and an unusually thick skin -- an ability to persevere and persist even in the face of overwhelming criticism and unacceptance. This likely stems from intelligence community training that, no matter how condemning the evidence, deny everything, and never become emotionally involved or reactive. The net result for a disinfo artist is that emotions can seem artificial.
Most people, if responding in anger, for instance, will express their animosity throughout their rebuttal. But disinfo types usually have trouble maintaining the 'image' and are hot and cold with respect to pretended emotions and their usually more calm or unemotional communications style. It's just a job, and they often seem unable to 'act their role in character' as well in a communications medium as they might be able in a real face-to-face conversation/confrontation. You might have outright rage and indignation one moment, ho-hum the next, and more anger later -- an emotional yo-yo.
With respect to being thick-skinned, no amount of criticism will deter them from doing their job, and they will generally continue their old disinfo patterns without any adjustments to criticisms of how obvious it is that they play that game -- where a more rational individual who truly cares what others think might seek to improve their communications style, substance, and so forth, or simply give up.
7) Inconsistent. There is also a tendency to make mistakes which betray their true self/motives. This may stem from not really knowing their topic, or it may be somewhat 'freudian', so to speak, in that perhaps they really root for the side of truth deep within.
I have noted that often, they will simply cite contradictory information which neutralizes itself and the author. For instance, one such player claimed to be a Navy pilot, but blamed his poor communicating skills (spelling, grammar, incoherent style) on having only a grade-school education. I'm not aware of too many Navy pilots who don't have a college degree. Another claimed no knowledge of a particular topic/situation but later claimed first-hand knowledge of it.
8) Time Constant. Recently discovered, with respect to News Groups, is the response time factor. There are three ways this can be seen to work, especially when the government or other empowered player is involved in a cover up operation:
a) ANY NG posting by a targeted proponent for truth can result in an IMMEDIATE response. The government and other empowered players can afford to pay people to sit there and watch for an opportunity to do some damage. SINCE DISINFO IN A NG ONLY WORKS IF THE READER SEES IT - FAST RESPONSE IS CALLED FOR, or the visitor may be swayed towards truth.
b) When dealing in more direct ways with a disinformationalist, such as email, DELAY IS CALLED FOR - there will usually be a minimum of a 48-72 hour delay. This allows a sit-down team discussion on response strategy for best effect, and even enough time to 'get permission' or instruction from a formal chain of command.
c) In the NG example 1) above, it will often ALSO be seen that bigger guns are drawn and fired after the same 48-72 hours delay - the team approach in play. This is especially true when the targeted truth seeker or their comments are considered more important with respect to potential to reveal truth. Thus, a serious truth sayer will be attacked twice for the same sin.
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How to Spot a Spy (Cointelpro Agent)
One way to neutralize a potential activist is to get them to be in a group that does all the wrong things. Why?
1) The message doesn't get out.
2) A lot of time is wasted
3) The activist is frustrated and discouraged
4) Nothing good is accomplished.
FBI and Police Informers and Infiltrators will infest any group and they have phoney activist organizations established.
Their purpose is to prevent any real movement for justice or eco-peace from developing in this country.
Agents come in small, medium or large. They can be of any ethnic background. They can be male or female.
The actual size of the group or movement being infiltrated is irrelevant. It is the potential the movement has for becoming large which brings on the spies and saboteurs.
This booklet lists tactics agents use to slow things down, foul things up, destroy the movement and keep tabs on activists.
It is the agent's job to keep the activist from quitting such a group, thus keeping him/her under control.
In some situations, to get control, the agent will tell the activist:

• "You're dividing the movement."

[Here, I have added the psychological reasons as to WHY this maneuver works to control people]
This invites guilty feelings. Many people can be controlled by guilt. The agents begin relationships with activists behind a well-developed mask of "dedication to the cause." Because of their often declared dedication, (and actions designed to prove this), when they criticize the activist, he or she - being truly dedicated to the movement - becomes convinced that somehow, any issues are THEIR fault. This is because a truly dedicated person tends to believe that everyone has a conscience and that nobody would dissimulate and lie like that "on purpose." It's amazing how far agents can go in manipulating an activist because the activist will constantly make excuses for the agent who regularly declares their dedication to the cause. Even if they do, occasionally, suspect the agent, they will pull the wool over their own eyes by rationalizing: "they did that unconsciously... they didn't really mean it... I can help them by being forgiving and accepting " and so on and so forth.
The agent will tell the activist:

• "You're a leader!"

This is designed to enhance the activist's self-esteem. His or her narcissistic admiration of his/her own activist/altruistic intentions increase as he or she identifies with and consciously admires the altruistic declarations of the agent which are deliberately set up to mirror those of the activist.
This is "malignant pseudo identification." It is the process by which the agent consciously imitates or simulates a certain behavior to foster the activist's identification with him/her, thus increasing the activist's vulnerability to exploitation. The agent will simulate the more subtle self-concepts of the activist.
Activists and those who have altruistic self-concepts are most vulnerable to malignant pseudo identification especially during work with the agent when the interaction includes matter relating to their competency, autonomy, or knowledge.
The goal of the agent is to increase the activist's general empathy for the agent through pseudo-identification with the activist's self-concepts.
The most common example of this is the agent who will compliment the activist for his competency or knowledge or value to the movement. On a more subtle level, the agent will simulate affects and mannerisms of the activist which promotes identification via mirroring and feelings of "twinship". It is not unheard of for activists, enamored by the perceived helpfulness and competence of a good agent, to find themselves considering ethical violations and perhaps, even illegal behavior, in the service of their agent/handler.
The activist's "felt quality of perfection" [self-concept] is enhanced, and a strong empathic bond is developed with the agent through his/her imitation and simulation of the victim's own narcissistic investments. [self-concepts] That is, if the activist knows, deep inside, their own dedication to the cause, they will project that onto the agent who is "mirroring" them.
The activist will be deluded into thinking that the agent shares this feeling of identification and bonding. In an activist/social movement setting, the adversarial roles that activists naturally play vis a vis the establishment/government, fosters ongoing processes of intrapsychic splitting so that "twinship alliances" between activist and agent may render whole sectors or reality testing unavailable to the activist. They literally "lose touch with reality."
Activists who deny their own narcissistic investments [do not have a good idea of their own self-concepts and that they ARE concepts] and consciously perceive themselves (accurately, as it were) to be "helpers" endowed with a special amount of altruism are exceedingly vulnerable to the affective (emotional) simulation of the accomplished agent.
Empathy is fostered in the activist through the expression of quite visible affects. The presentation of tearfulness, sadness, longing, fear, remorse, and guilt, may induce in the helper-oriented activist a strong sense of compassion, while unconsciously enhancing the activist's narcissistic investment in self as the embodiment of goodness.
The agent's expresssion of such simulated affects may be quite compelling to the observer and difficult to distinguish from deep emotion.
It can usually be identified by two events, however:
First, the activist who has analyzed his/her own narcissistic roots and is aware of his/her own potential for being "emotionally hooked," will be able to remain cool and unaffected by such emotional outpourings by the agent.
As a result of this unaffected, cool, attitude, the Second event will occur: The agent will recompensate much too quickly following such an affective expression leaving the activist with the impression that "the play has ended, the curtain has fallen," and the imposture, for the moment, has finished. The agent will then move quickly to another activist/victim.
The fact is, the movement doesn't need leaders, it needs MOVERS. "Follow the leader" is a waste of time.
A good agent will want to meet as often as possible. He or she will talk a lot and say little. One can expect an onslaught of long, unresolved discussions.
Some agents take on a pushy, arrogant, or defensive manner:
1) To disrupt the agenda
2) To side-track the discussion
3) To interrupt repeatedly
4) To feign ignorance
5) To make an unfounded accusation against a person.
Calling someone a racist, for example. This tactic is used to discredit a person in the eyes of all other group members.
Saboteurs
Some saboteurs pretend to be activists. She or he will ....
1) Write encyclopedic flyers (in the present day, websites)
2) Print flyers in English only.
3) Have demonstrations in places where no one cares.
4) Solicit funding from rich people instead of grass roots support
5) Display banners with too many words that are confusing.
6) Confuse issues.
7) Make the wrong demands.
8) Compromise the goal.
9) Have endless discussions that waste everyone's time. The agent may accompany the endless discussions with drinking, pot smoking or other amusement to slow down the activist's work.
Provocateurs
1) Want to establish "leaders" to set them up for a fall in order to stop the movement.
2) Suggest doing foolish, illegal things to get the activists in trouble.
3) Encourage militancy.
4) Want to taunt the authorities.
5) Attempt to make the activist compromise their values.
6) Attempt to instigate violence. Activism ought to always be non-violent.
7) Attempt to provoke revolt among people who are ill-prepared to deal with the reaction of the authorities to such violence.
Informants
1) Want everyone to sign up and sing in and sign everything.
2) Ask a lot of questions (gathering data).
3) Want to know what events the activist is planning to attend.
4) Attempt to make the activist defend him or herself to identify his or her beliefs, goals, and level of commitment.
Recruiting
Legitimate activists do not subject people to hours of persuasive dialog. Their actions, beliefs, and goals speak for themselves.
Groups that DO recruit are missionaries, military, and fake political parties or movements set up by agents.
Surveillance
ALWAYS assume that you are under surveillance.
At this point, if you are NOT under surveillance, you are not a very good activist!
Scare Tactics
They use them.
Such tactics include slander, defamation, threats, getting close to disaffected or minimally committed fellow activists to persuade them (via psychological tactics described above) to turn against the movement and give false testimony against their former compatriots. They will plant illegal substances on the activist and set up an arrest; they will plant false information and set up "exposure," they will send incriminating letters [emails] in the name of the activist; and more; they will do whatever society will allow.
This booklet in no way covers all the ways agents use to sabotage the lives of sincere an dedicated activists.
If an agent is "exposed," he or she will be transferred or replaced.
COINTELPRO is still in operation today under a different code name. It is no longer placed on paper where it can be discovered through the freedom of information act.
The FBI counterintelligence program's stated purpose: To expose, disrupt, misdirect, discredit, and otherwise neutralize individuals who the FBI categorize as opposed to the National Interests. "National Security" means the FBI's security from the people ever finding out the vicious things it does in violation of people's civil liberties.
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Seventeen Techniques for Truth Suppression
Strong, credible allegations of high-level criminal activity can bring down a government. When the government lacks an effective, fact-based defense, other techniques must be employed. The success of these techniques depends heavily upon a cooperative, compliant press and a mere token opposition party.
1. Dummy up. If it's not reported, if it's not news, it didn't happen.
2. Wax indignant. This is also known as the "How dare you?" gambit.
3. Characterize the charges as "rumors" or, better yet, "wild rumors." If, in spite of the news blackout, the public is still able to learn about the suspicious facts, it can only be through "rumors." (If they tend to believe the "rumors" it must be because they are simply "paranoid" or "hysterical.")
4. Knock down straw men. Deal only with the weakest aspects of the weakest charges. Even better, create your own straw men. Make up wild rumors (or plant false stories) and give them lead play when you appear to debunk all the charges, real and fanciful alike.
5. Call the skeptics names like "conspiracy theorist," "nutcase," "ranter," "kook," "crackpot," and, of course, "rumor monger." Be sure, too, to use heavily loaded verbs and adjectives when characterizing their charges and defending the "more reasonable" government and its defenders. You must then carefully avoid fair and open debate with any of the people you have thus maligned. For insurance, set up your own "skeptics" to shoot down.
6. Impugn motives. Attempt to marginalize the critics by suggesting strongly that they are not really interested in the truth but are simply pursuing a partisan political agenda or are out to make money (compared to over-compensated adherents to the government line who, presumably, are not).
7. Invoke authority. Here the controlled press and the sham opposition can be very useful.
8. Dismiss the charges as "old news."
9. Come half-clean. This is also known as "confession and avoidance" or "taking the limited hangout route." This way, you create the impression of candor and honesty while you admit only to relatively harmless, less-than-criminal "mistakes." This stratagem often requires the embrace of a fall-back position quite different from the one originally taken. With effective damage control, the fall-back position need only be peddled by stooge skeptics to carefully limited markets.
10. Characterize the crimes as impossibly complex and the truth as ultimately unknowable.
11. Reason backward, using the deductive method with a vengeance. With thoroughly rigorous deduction, troublesome evidence is irrelevant. E.g. We have a completely free press. If evidence exists that the Vince Foster "suicide" note was forged, they would have reported it. They haven't reported it so there is no such evidence. Another variation on this theme involves the likelihood of a conspiracy leaker and a press who would report the leak.
12. Require the skeptics to solve the crime completely. E.g. If Foster was murdered, who did it and why?
13. Change the subject. This technique includes creating and/or publicizing distractions.
14. Lightly report incriminating facts, and then make nothing of them. This is sometimes referred to as "bump and run" reporting.
15. Baldly and brazenly lie. A favorite way of doing this is to attribute the "facts" furnished the public to a plausible-sounding, but anonymous, source.
16. Expanding further on numbers 4 and 5, have your own stooges "expose" scandals and champion popular causes. Their job is to pre-empt real opponents and to play 99-yard football. A variation is to pay rich people for the job who will pretend to spend their own money.
17. Flood the Internet with agents. This is the answer to the question, "What could possibly motivate a person to spend hour upon hour on Internet news groups defending the government and/or the press and harassing genuine critics?" Don t the authorities have defenders enough in all the newspapers, magazines, radio, and television? One would think refusing to print critical letters and screening out serious callers or dumping them from radio talk shows would be control enough, but, obviously, it is not.

I just finished the A1 Level of Korean. A few stats: I completed 770 sentences, spent just shy of 40 hours, and did 9252 reps. This level took me almost exactly one month. Let's break down pluses and minuses:
Pluses - It's easy. I can put a visual program on (I like architecture), watch TV and practice sentences at the same time. I can't do anything that takes up too much brain bandwidth, but mindless multi-tasking is fine. I can set my goals and let the program do the work. I do make sets of difficult and hard to pronounce sentences for review later, but most of the time I do the auto-selected review sentences. I have learned to trust the process. What this means is that sometimes a grammar structure pops up that I absolutely don't understand. With time, it comes to make sense. Now I can tell if a structure is correct or now, but still can't tell you why - it just feels right. The multiple voices are great practice. One of the speakers speaks very slowly and articulates well which is easy on the ear. Then there is another who is quick and mumbles. In the long run, voice 2 is helping me more despite causing more initial frustration.
Minuses - The Korean pronouns are a problem. They are not used in conventional speech and I feel the program could be improved by teaching them separately, but not including them in most sentences. The second minus is user error. I was leaning too heavily on reading in my practice and kind of forgot about listening for fluency. It finally dawned on me that I was making an error with this and I switched my focus to listening - big difference! I'm getting my reading practice a different way now. For the first time last night I was able to watch a drama in Korean with subtitles and follow the plot. I cannot pick up details, but can broadly follow dialog. Some of the translations are overly simplistic. Having the ability to click on each word individually to know what it means would help so much. I see that feature is in the works. For now, I'm looking these words up.
On to A2.

I just finished the A1 Level of Korean. A few stats: I completed 770 sentences, spent just shy of 40 hours, and did 9252 reps. This level took me almost exactly one month. Let's break down pluses and minuses:
Pluses - It's easy. I can put a visual program on (I like architecture), watch TV and practice sentences at the same time. I can't do anything that takes up too much brain bandwidth, but mindless multi-tasking is fine. I can set my goals and let the program do the work. I do make sets of difficult and hard to pronounce sentences for review later, but most of the time I do the auto-selected review sentences. I have learned to trust the process. What this means is that sometimes a grammar structure pops up that I absolutely don't understand. With time, it comes to make sense. Now I can tell if a structure is correct or now, but still can't tell you why - it just feels right. The multiple voices are great practice. One of the speakers speaks very slowly and articulates well which is easy on the ear. Then there is another who is quick and mumbles. In the long run, voice 2 is helping me more despite causing more initial frustration.
Minuses - The Korean pronouns are a problem. They are not used in conventional speech and I feel the program could be improved by teaching them separately, but not including them in most sentences. The second minus is user error. I was leaning too heavily on reading in my practice and kind of forgot about listening for fluency. It finally dawned on me that I was making an error with this and I switched my focus to listening - big difference! I'm getting my reading practice a different way now. For the first time last night I was able to watch a drama in Korean with subtitles and follow the plot. I cannot pick up details, but can broadly follow dialog. Some of the translations are overly simplistic. Having the ability to click on each word individually to know what it means would help so much. I see that feature is in the works. For now, I'm looking these words up.
On to A2.

The beautiful thing about Villeneuve's movies is that they are highly rewatchable, and you can pick up on more subtleties with each viewing. We know Villeneuve prefers visual storytelling to explicit dialog, and he uses key shots to portray plot points, requiring the viewers to go further than simply listening to lines but rather to pick up on visual cues. One way he does this is through the characters' gaze, their eye contact--for Paul and Chani, what the cast has referred to as "glance passes."
There are actually some deep plot points we can infer from the glance passes throughout the film. In this post, I will specifically analyze the shots where Paul looks at Chani during the final fight scene. Paul's glances here indicate his motivations at this point in the story.
(Note: This commentary is my one humble interpretation, of course! It is based on my reading of Dune: Messiah and Children of Dune. I've redacted my references to those books as spoilers. My interpretation is also based on my understanding of Villeneuve's narrative goals for Dune: Part Two and the hints he has dropped in interviews about his plans for the Messiah film. Villeneuve has clearly stated that the love story between Paul and Chani is at the heart of this film. He has also stated that his favorite book is Dune: Messiah, which absolutely centers Paul's love for Chani and fears about her death.)
You can interpret these shots of Paul's glances on two levels, by design: (1) the level of a viewer who is casually enjoying the scene, and (2) the level of someone who knows the other "possible futures" that Paul saw after drinking the Water of Life and who generally knows what is likely coming in Dune: Messiah (the film version). This latter level is the level Villeneuve is operating on.
Key Background: Paul's Two Fears
To appreciate Paul's expressions during the Feyd fight, you have to reflect on his major motivations in this film. Without this background, you might miss the looks between Paul and Chani, and when you see them, you might think it's purely for the drama of the scene, but these glances are weighty: they communicate Paul's fears, which relate to his visions, what he saw when he drank the Water of Life, and what is to come in the next film.
The third act of the film is Paul acting out his "narrow way through." The clear vision that he saw when he drank the Water of Life becomes his battle plan; it's the only path where their enemies do not prevail. How did Paul determine this plan? Well, initially, the last thing he wanted to do was go South, because going South seemed to suggest (1) a war in his name where billions of people die, and (2) Chani dying. These are the two visions that he has during the film. He conjures these two separate visions up after Feyd's forces attack Sietch Tabr and he is talking to Stilgar. These two separate visions are what make him initially refuse to go South. It's important to note, in the book Dune: Messiah, these are also the two things that haunt Paul: "And he saw how he'd been hemmed in by boundaries of love and the Jihad." (p. 46).
But before going South, he conjures a vision of Jamis, who informed him, "You need to see"--you need to clearly see the future so that you can stop these bad things from happening. Paul still had his doubts, even after this message from Jamis. This is why he tells Chani, "If I go South, I might lose you." He does not mean "You might walk out on me," he means, "You might die." And she tells him, "you'll never lose me as long as you stay who you are," (she clearly didn't understand that his statement was about her potentially dying; instead, she's thinking he is referencing her leaving him as a result of his worries about the fundamentalists and fears related to him taking control--at this point, these are the only "nightmares" and concerns of Paul's that Chani is aware of). Paul in that moment resolves to go South, to drink the Water of Life so he can see his past (that's what the Water of Life does, gives you intergenerational memory) in order to gain clearer visions of the future. The voices in his Jamis vision tell him, "you cannot see your future without seeing our past." Paul wants this new and improved future vision so that he can figure out how to prevent his two big fears: billions of people dying and Chani's death.
Notably, by including Paul's vision of Chani's death in this film, Villeneuve made the choice to embed elements of Dune: Messiah into Dune: Part Two. Pauls' vision of Chani's death is not in the first Dune book. This is a plot point Herbert developed in Messiah, when Paul is essentially trapped into his vision and afraid to veer from its path, lest worse consequences ensue. As a reminder, Paul has a vision of the "moon falling," and he spends most of Messiah lamenting his role in the Jihad and grieving Chani's future death while desperately trying (and failing) to save her (recall his bargaining with Reverend Mother Mohaim to save Chani's life). He basically settles on the fact that the path he chose was Chani's least terrible death, with alternatives being her put in a cage, tortured, put in slave pits, etc. (See Dune: Messiah pp. 196, 314).
His Water-of-Life vision is never fully visually revealed to us, the viewers, but when he mentions the "narrow way through," we get a quick shot of Paul's hand stabbing Feyd. The "narrow way through" is the one path where their enemies do not prevail--where the crisis of Chani's death is averted. I actually think this is why Paul answers Chani's "Are you okay?" with "Thanks to you" after he wakes up from drinking the Water of Life. I think that "Thanks to you" has a double meaning--thank to you for waking me up and thanks to you for being my compass, essentially, the determining factor guiding my decision on which possible future to choose. Remember, Paul sees multiple possible futures, so the path we see in the third act of film is not an inevitable future: Paul still has to make choices and act out the future that he wants to happen. He still has to work to make that narrow path happen. Otherwise, another possible future will happen and his enemies will prevail, Chani will die, and everything will be terrible.
What does all of this mean? By the time we get to the Feyd fight, preventing Chani's death has become one of Paul's main motivations. What about preventing the billions of deaths in the upcoming Jihad!? Welp, the Jihad ultimately pops off despite this "narrow way through," so apparently Paul realized he couldn't prevent the Jihad (or maybe he could have...but at a price he didn't want to pay). In fact, based on the books, you can make a good argument that Paul makes a choice: to save Chani's life at the cost of billions of lives. We get some insight into Paul's choices regarding Chani in Messiah and in Children of Dune. (Messiah, p. 46: "And what was one life, no matter how beloved, against all the lives the Jihad was certain to take? Could single misery be weighed against the agony of multitudes?"; Children of Dune, p. 518: "I accepted the Mahdinate. I did it for Chani, but it made me a bad leader." <--these quotes suggest that Paul chose Chani--and for a while really thought he could save her--by allowing himself to become a religious figure and allowing the Jihad to happen. Basically, he chose one life over billions of lives.)
So: the "narrow way through" is how Paul saves Chani. And this is his internal monologue when he looks at her throughout the fight. I invite you to rewatch and pay particular attention to every instance when Paul looks at Chani during this fight.
Glance right before the fight: As Paul is positioning himself across from Feyd before they fight, he walks near Chani, looking at her. We get a clear shot of this look and Paul's lingering gaze on Chani as he turns towards Feyd. This is not just an empty glance. It is Paul is reminding himself what is at stake in this fight: Chani's survival.
Glance from the floor when Paul gets knocked down: Paul also glances at Chani when he is knocked down by Feyd's kick. He immediately looks at her, because falling means he is potentially losing the fight, and he knows if he loses, she dies. The "narrow way through" is for Paul to win this fight, and if he fails to enact that future, one of the other possible futures is in play--one in which Chani dies. So this fearful glance at Chani communicates, "Oh no! I'm potentially going to lose this fight and Chani's fate is sealed."
"She's your pet?" glance. Feyd just aggravates Paul's fears when Feyd follows Paul's eyeline, sees that Paul is looking at Chani, and taunts Paul, "She's your pet?" Paul hears this and looks at Chani again. We, the viewers, know at this point that Feyd keeps women as his pets. While, yes, calling Chani a "pet" is a belittling insult to Chani and to Paul, it is serving another purpose in the story: It clearly evokes one of the terrible possible futures where their "enemies prevail" and Chani actually becomes Feyd's pet>! and, if Villeneuve is borrowing themes and content from Dune: Messiah, in that book, a possible future Paul envisions for Chani is her literally being put in a cage (pp. 196, 314)!<. This, of course, reinvigorates Paul to get back on his feet and get back on that narrow path. He is now laser-focused on fighting Feyd and winning.
Glance after getting stabbed. The next glance, though, is after Paul gets stabbed by Feyd. Feyd flings him across the room and he stumbles backs toward the area where Chani is. Feyd advances towards Paul, and then there is a clear, almost slow-motion shot of him turning to look at Chani. Paul doesn't look at anyone else but Chani. And his expression is outright worry, essentially panic. Why is he panicked? He knows the future! Reminder: He's not locked into a particular future; he knows possible futures, and he has to stick to the "narrow way through" by making choices and taking actions to commit to that path. So at this moment, he is openly concerned that he may fail and that he is truly about to die--and if he dies, we jump to one of the possible futures where Chani dies. We then get a shot of Chani looking right back at him, drawing in a desperate breath, panicked as well. Paul sees her panic. With every glance at her, Paul is getting a reminder of what is at stake. He looks back to Feyd, motivated again to try anything to win--including grabbing the knife end of Feyd's blade. Again, these are not throwaway shots; knowing Villeneuve's style and thoughtfulness, these are all very intentional moments.
Glance when he stands up after winning the fight. After Paul stabs Feyd, Paul takes the knife out of his shoulder, stands up, and what is the first thing he does? He immediately looks at Chani. We see him look at her and literally sigh with relief. Chani's expression is certainly relief that Paul survived, but Paul's expression is not mere relief that he, himself, survived. His face is communicating relief with respect to her, to Chani. It's saying, "Good. I saved her." By winning the fight and acting out his vision of the "narrow way through" (stabbing Feyd, which we literally saw as a snippet of his Water-of-Life vision), he ensured that Chani did not die. He then turns his attention toward the Emperor.
Final glance at Chani. The last glance between Paul and Chani is right before Chani exits the room. The thing I'll note about this is that, in this adaptation, Paul probably knows Chani is going to leave before he even looks at her. This was all part of his vision. So, he is turning to look to get his final glance at her, at least for the time being. And after she leaves, he sort of looks down as if to say, "It's okay. This was the only way...the way that keeps her alive." Also, we know from earlier that Paul foresaw that Chani would "come to understand." So he might also be thinking, "It's okay--she is upset now, but she will come to understand why I made these decisions." Also, since we know their relationship is at the heart of the Messiah plot, he might also be thinking, I know I will see her again. We then see Paul turn back towards the Emperor, but then turn around again to anticipate Gurney's statement that the Great Houses have refused to accept his ascendancy.
And then the "Holy War" begins...apparently, Muad'Dib's "narrow way through" was not a path where the Holy War didn't happen. Which goes to my point that maybe Paul made a choice between his two fears, the two visions that plagued him: The Holy War and Chani's death. And he chose Chani.
I hope you enjoyed this read, Dune fam! As always, these are just my interpretations, my lone opinion. You may have an entirely different take. Or you may agree with aspects of mine. Regardless, I'd love to hear what you think!

Hi!
I'm just looking for more partners who are interested and wanting to make long-term friends as well to enjoy eachother's company. So welcome and thank you for taking your time to read my post! Basically wanting a slow-burn as well as fight scenes, action, possibly capturing scenes, drama, adventure, some fun cheerful moments, etc. Your oc's are welcomed to join as I am hoping to have both canon characters and oc's!
Rules:
I prefer roleplay partners to be mature and atleast 18 years or older
Please do not write only one short sentence for your entire response. Example I see often: -insert characters name here- smiles at them. Why is the character smiling? What caused them to feel this way? The more you can write the better! I try to write what the characters are feeling or what kind of action they are doing with dialog.
Please do not ghost. If you need a break or no longer interested that's okay! It's hard when you get so excited and don't receive a response back. I rather we work it out than just wondering what happened. I want to make the roleplay interesting for us so we can always come up with ideas if you want!
I prefer to have the roleplay on DeviantArt using the Notes. So, I tried to do one Discord roleplay and recently found out that they have a character limit so I had to make several copy and paste responses there lol
That's pretty much it! Please DM me if you're interested and have a great day!

Hello traveler, and thank you for taking the time to read my post! I'm looking to start a new group!
I'm hoping for a long-term group of 4-8 players, and hoping for at least daily posts.
The campaign is planned with a balance of sea exploration, combat, and engaging dialog. The campaign takes inspiration from mythology, film and writing; while set in a large, dynamic, and changing world. I am hoping to create a world rich and dark. Hoping for a "dark fantasy" and "epic" feel, while still trying to stay true to the 5e system most/some of the time. I intend to run this campaign using rules and dice rolls to dictate outcome just as if it were a live-session. This can be cumbersome at times, but I believe in the heart of the cards.
Character creation for this campaign is restricted to races from the phb and classes/subclasses from any offical/non-partnered supplement. I am willing to make exceptions if the character concept is novel, interesting, and assists the plot. Characters will also begin their story at level 3. With potentially 8 players in the campaign, overlap is inevitable and encouraged for split party, or two party adventures. As long as your character fits into the world, I encourage you to create the character you'd like to play instead of 'what the party needs'.
Problem players, inactive players, and disinterested players will be removed and replaced. I have no interest in player drama. This is strictly an inclusive and welcoming environment, and I expect my players to encourage this.
About myself. I've run games for TTRPGs for around 7 years, either in person for friends or in game stores. I've run games online for the last 3 years. Both across multiple systems. I started pbp roughly 1 year ago to encourage myself to write. Despite doing this for a large portion of my life, I still tend to mess up and make mistakes. If you are concerned or have issues, please talk with me. I will right my wrongs.
If all of this interests you, fill out this form (https://forms.gle/2qSDhZJZaEzidWvh9) and I'll be reaching out to you soon!

Hello, I am a published comic book writer, (The Return of Camazotz) and I'm looking for a writing partnefriend to bounce ideas off of, I'm looking for someone who is more into film script/comic book writing than prose writing as those are my specialties. I'm not a big prose guy but I am working on a short story (all dialog story) that will be in an horror prose anthology soon and could use some help with it. I'm also looking to partner with someone on a comic book series (making comics is expensive) so two writers are better than one when it comes to hiring an art team. I'm also looking to get back into screenwriting, horror movies in particular.
A little about myself, I am 30 years old, Mexican American from TX, I've won some awards for my writing, I was 2nd place in a short story contest, and 1st place in a short film contest that I wrote directed myself in college. And I've been a finalist in a short comic contest. Just to say, I've been recognized for my work in the past and not some complete amateur. I've got about 10+ years of writing experience in different mediums but I'm just starting to get noticed by comic publishers and building a fanbase so I'm trying to push out more material and could use the help of a writing partneaccountability buddy. I can teach you about how to write/create comics but would love to work with someone who has some experience either in comic book writing or screenplay writing. I also write a lot of horroscifi genre stuff so boring stuff like historical drama or romantic drama aren't really my thing.
Check out my Instagram for more info about me.

Long post incoming!
I recently finished watching Unknown, a Taiwanese BL, and have a bunch of thoughts on it. I know you do too. So, let's talk Unknown.
The story, themes, and characters
The premise is, at the surface, quite straightforward. Wei Qian takes Zhi Yuan from the streets and raises him like a brother. Zhi Yuan develops feelings for his “brother” as he grows up. However, underneath all the love, we have childhood trauma, death, violence, homelessness, drug addiction, and lots of emotional drama.
The romance between Qian and Zhi Yuan may seem inappropriate, given that Qian literally raised Zhi Yuan. But Zhi Yuan clarifies it (for us and especially Qian) many times that he is not Qian’s “blood brother.” I didn’t have any issue with this relationship for the same reason. Plus, the age gap between the two wasn’t much. Even though Li Li calls Qian her father figure, Zhi Yuan does not feel the same. For Zhi Yuan, Qian was always the big brother who he looked up to, took care of, and eventually fell in love with.
Despite their hardships, I was pleased that Qian opened up to his “brother’s” affections. What worked in this series was that we were shown how the characters grew to be who they are. The love doesn’t happen quickly (the NC scene did, though, and I thank the BL gods for that), Qian’s problems don’t automatically disappear, and happiness is not permanent. The series shows Qian building a life for himself and his family that his mother couldn’t. And that takes time. In a series, about a couple of episodes. Many may find this progression slow. But the character development (and Chris’ cuteness) is what kept me interested.
Qian takes his sweet time to finally realize his feelings. In the meantime, we get a lot of hugs, touches, and longing looks from Zhi Yuan. Maybe to keep reminding Qian that he (Zhi Yuan) is always there for him. I ate up every scene with any sort of affection between these two angsty lovebirds.
Both brothers are supported by their playful sister, Li Li, the forever friend, San Pang, and a host of others who, even in small roles, make an impact. For example, Doctor Lin Zu Yuan was mesmerizing in the two episodes he was in. His one-liners and “do as you please” attitude had me in splits. He brought a little light-heartedness amongst all that angst and sorrow.
I absolutely loved that the story focused more on the characters rather than the love story. While the love between the brothers is what ties the story, the narrative centers around each one’s growth. There is not a single frame or dialog that is wasted.
The actors
The casting director struck gold with this cast, especially the leads. Chris Chiu and Kurt Huang were the perfect Qian and Zhi Yuan. They had amazing chemistry and complemented each other quite well. I usually don’t watch cast interviews, BTS, and other promotional videos. The few I watched of these two show that they get along well off-screen and that translated onto the screen.
The supporting actors had unfortunately not much screen time although they all were well-cast too. I, at first, did not recognize that Sam Lin (from We Best Love) was the quirky doctor. He looked a bit different in his first episode, but I couldn’t take my eyes off him.
I must appreciate the child actors. They embodied the characters well, especially Max Kuo (teenage Zhi Yuan). I think he had the most screen time out of the other child actors. He was superb as Zhi Yuan with the right mix of playfulness, affection, and growing love for his big brother.
The music
The somber background score was perfect for this series. Even the songs (although I cannot hum any) are very pleasant. I especially loved the one during the NC scene sung by Kim Jae Hoon (San Pang in the series) mainly because I’ve replayed that scene so many times (sue me, won’t you?) it’s stuck in my head. You can’t dance to any song, but you listen to them if you need something relaxing and chill.
The NC scene
It's quite rare that I really think about an NC scene once a series ends. This is not to say that there aren't any good ones, but the fact that most of them aren't memorable (for me).
In Episode 11, Qian gives in to his feelings and takes his relationship with Zhi Yuan to a more intimate level. They no longer remain just brothers, they become each other’s everything.
Unknown has one of the best NC scenes among the BLs I've watched. It's aesthetic, hot, consensual, and meaningful.
It also has one of the most orgasmic dialogs in all of the BL-verse, "You don't even know what I dream of at night..." The moment I heard it, I had to pause the video and gather my train of thought. I mean, WOW! Besides being steamy and arousing, that dialog is super relatable. I cannot count the number of times I have replayed that dialog. I just can't get it out of my head.
Dialog aside, the entire scene is shot really well. The voiceover and flashback scenes during the lovemaking and the music keeps you hooked and keeps it from becoming a hump fest. I am also happy that it was Qian who pulled Zhi Yuan for their first official kiss (not counting the drunken one), and not the other way round.
It was an emotionally evocative scene. I felt that for the first time in his life, Qian unclenched his mind. He could stop worrying about every little thing and simply relax. He was finally able to experience something uncomplicated with someone who loved him unconditionally.
The montage of Zhi Yuan during this scene was just chef’s kiss.
A fun video I came across was Kurt talking about how Chris moaned during the scene. Kurt did not expect that and his ears went red. I just want to say, "Good job, Chris!" I don't know about others, but I love it when a man moans in an intimate situation, be it kissing, sex, or touching. It elevates the intimacy. And Chris' improvisation did that, it elevated that scene.
In conclusion
When I started this series, I had no idea what it was about. I did not even read the description on MDL and just dove in because a lot of people kept recommending it. And you know what, I'm glad I did. Because this series is something else.
I often read about Taiwanese BLs being superior to their Thai, Japanese, and Korean counterparts. I am beginning to see why. So far, all the Taiwanese BLs I've watched have been really good. Unknown takes the crown, of course, but I must say I was impressed with Plus and Minus, We Best Love, and Kiseki: Dear to Me.
Unknown is officially one of my top 3 BLs (the other 2 being I Feel You Linger in the Air and Only Friends).
What did you guys think about this series? Was it a hit or miss for you?

We are a two-person team from Northern Europe (Germany and Denmark) looking for an artist to partner with us! We want to release a visual novel soon (more than 70% completed with a playable demo, see link) and create a JRPG sequel (passion project with 5 years worth of love going into the project) set in the same world after that. The world we are working on is set in a dystopian Solarpunk future. The visual novel is a coming-of-age drama full of interesting choices, while the JRPG is a humorous dramedy, offering a balanced blend of thought-provoking themes and laughter.
Play the demo for our VN here ( to play it, use Password 1234 since it’s an alpha version and therefore delisted right now): https://gurusam.itch.io/rottenroots

1. The VN project offers:

Rottenroots is a coming-of-age visual novel where every decision you make has an impact. A teen must try to get love and life under one hat in a mysterious sci-fi world where a wrong move could be your last. Will you help him make the right choices?
Features include
-6+ endings with very different outcomes
-Packed full of decisions that make a difference
-Around 20.000 words long and can be finished in 1,5-2 hours (in the final version)
-A mysterious sci-fi world to get lost in
-Three-dimensional characters full of flaws, dreams, and desires
-Forbidden love, extraordinary adventures, the whirlwind of teenage emotions... and night swimming?
-Join a game that will be released soon and a dedicated team!
- Needs: 11 Backgrounds, 7 characters (3 with additional outfits and 5 expressions each), and UI.

2. The JRPG project offers:

-A sequel to the VN, set 20 years later.
-A balanced blend of comedy and mature drama, bringing depth to characters and narrative.
-Innovative dialog fighting system based on psychological research.
-Meaningful choices lead to distinct endings, empowering players' agency.
-The fresh world is set with Solarpunk aesthetics and a colorful ocean to explore.
-Educational aspect, shedding light on the horrors of WW2 and the dangers of fascist movements.
-A detailed and long GDD full of visual explanations.
Needs: Character designs, enemy designs, tile sets, facial expressions, and more are needed
We are seeking a (pixel) artist to join us two! The revenue generated from the game's launch will be shared equally (we are considering releasing the VN for free in a basic version). We work with the GameMaker, but you don't have to know that engine. Our (pixel) artists will have ample creative freedom within the project, enabling them to infuse their artistic vision. Let's create great game visuals that will get the players' attention! We would also consider other art styles if they fit the world.
We are a dedicated team that has already put in a lot of work. We have social media profiles for these projects ready to go with hunderts of followers, just waiting for more concrete content. We also have a structured approach to project management with a detailed Notion board that lists and categorizes every aspect of these games. We would love to work with someone reliable who is 18 or over and ideally has a portfolio.
So please give us a swing, and let's build a game we'll all be proud of!

Are the actions scenes always going to be this long? The novel was like 80 percent actions scenes with monologue and inner monologue of current events, leaving not much room for any meaningful dialog, and what was left felt like a rushed and unearned plot, making the character drama not at all believable. Tbh I'm not that interested in the MC either, idk whether it's a "he grow's on you" type of MC but it's definitely going to be hard to get into if its gonna be through his lens.
Maybe it's simply because it's the authors first book of the series and he get's better at pacing of the story as it goes along, but tbh, this first Volume was a real slog to get through and I'm not real motivated to continue.

dezzwb.getbonus25.com
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Besiktas-Stadion
Das Besiktas-Stadion, offiziell bekannt als Vodafone Park, ist ein beeindruckendes Fußballstadion in Istanbul, Türkei. Es ist die Heimat des renommierten Fußballclubs Besiktas JK und ein Ort voller Leidenschaft und Geschichte.
Das Stadion wurde am 11. April 2016 eröffnet und hat eine Kapazität von rund 41.000 Zuschauern. Es befindet sich in der Nähe des Dolmabahce-Palastes am Ufer des Bosporus und bietet einen atemberaubenden Blick auf das Wasser und die umliegende Stadt.
Eine der bemerkenswertesten Eigenschaften des Besiktas-Stadions ist sein innovatives Design. Das Stadion ist das erste in der Türkei, das vollständig mit einer Überdachung ausgestattet ist, die bei Bedarf geöffnet oder geschlossen werden kann. Diese flexible Struktur sorgt dafür, dass Spiele bei jedem Wetter stattfinden können und die Zuschauer stets geschützt sind.
Die Atmosphäre im Vodafone Park ist legendär. Die Fans von Besiktas, bekannt als "Die Schwarzen Adler", füllen das Stadion bei jedem Spiel mit ihrer Energie und Unterstützung. Ihre Gesänge und Chants schaffen eine elektrisierende Atmosphäre, die sowohl Spieler als auch Gegner inspiriert.
Abgesehen von Fußballspielen dient das Besiktas-Stadion auch als Veranstaltungsort für Konzerte und andere Events. Seine moderne Ausstattung und seine zentrale Lage machen es zu einer beliebten Wahl für Veranstalter und Besucher gleichermaßen.
Insgesamt ist das Besiktas-Stadion nicht nur ein Ort für Fußball, sondern auch ein Symbol für die Leidenschaft und Hingabe der Fans sowie für die moderne Architektur und Innovation in der Türkei. Es bleibt ein Muss für alle Fußballfans, die Istanbul besuchen.
Istanbul-Derby
Das Istanbul-Derby ist eines der aufregendsten Fußballspiele der Welt. Es findet zwischen den beiden größten Fußballvereinen der Stadt statt: Galatasaray und Fenerbahçe. Diese beiden Mannschaften haben eine lange und intensive Rivalität, die bis ins späte 19. Jahrhundert zurückreicht, als der Fußball in der Türkei populär wurde.
Die Geschichte des Istanbul-Derbys ist von legendären Spielen, emotionalen Momenten und intensiven Auseinandersetzungen geprägt. Die Fans beider Teams unterstützen ihre Mannschaften leidenschaftlich und färben die Stadt vor jedem Derby in den Farben ihrer Vereine.
Das Derby findet abwechselnd im Türk Telekom Stadion von Galatasaray und im Şükrü Saracoğlu Stadion von Fenerbahçe statt. Die Atmosphäre während des Spiels ist elektrisierend, mit Tausenden von Fans, die ihre Mannschaften mit Gesängen und Fahnen unterstützen.
Die Spieler spüren den Druck und die Erwartungen ihrer Fans, was zu einem intensiven und mitreißenden Spiel führt. Die Spiele sind oft hart umkämpft und voller Drama, mit umstrittenen Schiedsrichterentscheidungen und spektakulären Toren.
Das Istanbul-Derby ist nicht nur ein Fußballspiel, sondern auch ein kulturelles Ereignis, das die gesamte Stadt vereint und die Leidenschaft für den Sport zeigt. Es ist ein unvergessliches Erlebnis für Spieler, Fans und alle, die die Atmosphäre des Derbys erleben.
Insgesamt ist das Istanbul-Derby ein Symbol für die Leidenschaft und Rivalität im türkischen Fußball und zieht Fußballfans aus der ganzen Welt an, um dieses aufregende Ereignis zu erleben.
Türkische Fußballliga
Die Türkische Fußballliga, auch bekannt als Süper Lig, ist die höchste Fußballliga in der Türkei und eine der angesehensten in Europa. Mit einer reichen Geschichte und einer leidenschaftlichen Fanbasis bietet die Süper Lig spannenden Fußball auf höchstem Niveau.
Gegründet im Jahr 1959, hat die Türkische Fußballliga im Laufe der Jahre zahlreiche legendäre Spieler und Teams hervorgebracht. Vereine wie Galatasaray, Fenerbahçe und Besiktas sind international bekannt und haben in europäischen Wettbewerben Erfolge gefeiert.
Die Rivalitäten in der Süper Lig sind intensiv und sorgen für fesselnde Duelle auf dem Platz. Der Istanbul-Derby zwischen Galatasaray und Fenerbahçe ist eines der heißesten Derbys der Welt und zieht Fans aus der ganzen Türkei an.
Die Qualität des Fußballs in der Türkischen Fußballliga hat sie zu einem wichtigen Teil der Fußballwelt gemacht. Viele talentierte Spieler aus der Türkei haben den Sprung zu Top-Clubs in Europa geschafft und tragen dort zum Erfolg ihrer Teams bei.
Die Süper Lig ist auch für ihre leidenschaftlichen Fans bekannt, die die Stadien Woche für Woche füllen und für eine beeindruckende Atmosphäre sorgen. Die Unterstützung der Fans ist ein wichtiger Teil des Erfolgs der Liga und trägt dazu bei, dass Spiele zu mitreißenden Events werden.
Insgesamt bietet die Türkische Fußballliga spannenden Fußball, eine reiche Geschichte und eine leidenschaftliche Fanbasis. Sie bleibt eine der aufregendsten Ligen in Europa und zieht Fans aus aller Welt an.
Fan-Kultur
Fan-Kultur ist eine facettenreiche Welt, die sich um die Leidenschaft und Hingabe von Fans für verschiedene Bereiche wie Filme, Bücher, Spiele, Musik und mehr dreht. Diese Kultur ist nicht nur eine einfache Anhängerschaft, sondern ein komplexes Netzwerk von Menschen, die sich durch ihre Liebe zu einem bestimmten Thema verbunden fühlen.
Eine der markantesten Eigenschaften der Fan-Kultur ist ihre Kreativität. Fans zeigen ihre Zuneigung durch Fanart, Fanfiction, Fanvideos und sogar Fanmusik. Diese Werke dienen nicht nur als Ausdruck der Liebe zum Thema, sondern auch als Möglichkeit für Fans, ihre eigenen kreativen Fähigkeiten zu präsentieren und sich mit Gleichgesinnten auszutauschen.
Darüber hinaus spielt die Community in der Fan-Kultur eine zentrale Rolle. Fans versammeln sich online in Foren, auf sozialen Medien und in speziellen Fanclubs, um über ihre Lieblingsthemen zu diskutieren, Neuigkeiten zu teilen und sich gegenseitig zu unterstützen. Diese Gemeinschaften bieten ein Gefühl der Zugehörigkeit und ermöglichen es den Fans, sich mit anderen auszutauschen, die ihre Leidenschaft teilen.
Ein weiterer wichtiger Aspekt der Fan-Kultur ist die Teilhabe am Schaffen der Inhalte. Durch Crowdfunding-Plattformen unterstützen Fans die Produktion von neuen Filmen, Büchern oder Spielen, die ihren Vorlieben entsprechen. Diese direkte Beteiligung gibt den Fans das Gefühl, Teil des Schöpfungsprozesses zu sein und eine aktive Rolle in der Entwicklung ihrer Lieblingsinhalte zu spielen.
Insgesamt ist die Fan-Kultur ein faszinierendes Phänomen, das die Grenzen zwischen Konsum und Kreation, zwischen Zuschauern und Machern verschwimmen lässt. Sie zeigt die immense Kraft der Leidenschaft und Gemeinschaft, die Menschen verbinden kann, unabhängig von ihrem Hintergrund oder ihren Lebensumständen.
Historische Rivalität
Historische Rivalitäten sind ein faszinierendes Phänomen, das sich durch die Geschichte zieht und oft tief verwurzelt ist. Sie entstehen aus einer Vielzahl von Gründen, darunter territoriale Konflikte, politische Differenzen, wirtschaftliche Interessen oder kulturelle Unterschiede. Diese Rivalitäten können zwischen Ländern, Regionen, Städten oder sogar Familien auftreten und prägen oft das kollektive Bewusstsein einer Gesellschaft.
Ein berühmtes Beispiel für eine historische Rivalität ist die langjährige Feindschaft zwischen England und Frankreich. Diese Rivalität reicht bis ins Mittelalter zurück und manifestierte sich in zahlreichen kriegerischen Auseinandersetzungen, wie zum Beispiel dem Hundertjährigen Krieg. Sogar heute noch sind Spuren dieser Rivalität in der Rivalität zwischen englischen und französischen Fußballmannschaften oder in kulturellen Klischees erkennbar.
Auch innerhalb eines Landes können historische Rivalitäten existieren, wie zum Beispiel zwischen verschiedenen politischen Parteien oder ethnischen Gruppen. Diese Rivalitäten können sich über Generationen hinweg fortsetzen und haben oft tiefgreifende Auswirkungen auf die Politik, die Gesellschaft und das tägliche Leben der Menschen.
Es ist wichtig zu erkennen, dass historische Rivalitäten nicht in Stein gemeißelt sind und sich im Laufe der Zeit ändern können. Durch Dialog, Versöhnung und gemeinsame Anstrengungen können einstige Feinde zu Partnern werden und alte Konflikte überwunden werden. Dennoch bleibt die Erforschung und das Verständnis historischer Rivalitäten ein wichtiger Bestandteil der Geschichtswissenschaft und kann dazu beitragen, zukünftige Konflikte zu verhindern.

Hi, I'm new posting here. I've had some thoughts/feelings for awhile and would like some input or maybe just to vent.
So I only have two friends, friend A I met right at the end of high-school (friends for 7 years), friend B I met working my first job (friends 6 years), I introduced them to each other and we'd always hang out, share a groupchat etc. After a year into our mutual friendships, working part time and being a full time student ate up my schedule so they started hanging out a lot more without me, to the point where I would have to ask them if I could join in on their plans. I had communicated with them how I felt a little left out at times, even though I understood it was mainly circumstantial because I had such a busy schedule and of course they're free to hang out with each othedo whatever they want with their own time.
Fast forward, friend A moves long distance and is gone for 4 years, we all stay in touch, even visiting each other a couple of times. Friend B and I continue to hang out, go on trips, etc.
Friend A just recently moved back home and I'm starting to see some of the same patterns as before. A lot of it is, again, circumstantial as friend A took on a job at friend B's workplace, and live closer by to one another. So they see each other multiple times a week, and have started working out together after work. I recently moved, just a little further away unfortunately, and I WFH, so unless I run errands or reach out to someone I don't get any social interaction in a day, which is totally my issue and I am the only one responsible for fulfilling any needs I may have as a person. But when I do hang out with the both of them, I often feel like the third wheel. They have their own inside jokes I don't know, they small talk with each other throughout the day, any time there's any drama or tea or any sort of info to share im always the last one to know about it, I always just kind of feel like the odd one out I guess. Like I'm always just one step behind, or like they could take it or leave it if I'm around or not.
I'm not really sure what to do because they're my only two friends, and I've known them so long. I've tried bringing stuff like this up to them before and their responses to me remain the same "you can reach out too," and I do. But sometimes it's nice to be invited instead of asking if you can tag along.
This is not to say either one of them never invite me to do stuff, hanging out with either of them one on one vs the dynamic of all three of us, and the frequency in which we do so is much different. With the way they banter with one another, it's almost as if I'm just an onlooker watching two good friends interact with only a few side comments or interjections to add to the dialog. But being that they see each other 3-5 days every week, vs roughly every 1-2 weeks that I see either one of them I'm sure their energy is bound to match more.
While it may be that I'm maybe just envious of the time they spend together, I'm not angry that they may hang out without me, they're my friends and I want them to be happy. I just don't like feeling like the third wheel, especially when I'm the reason they met in the first place.

Goodreads
This is probably going to be in the top 5 best books I read in 2024. I read this as a library book, but I intend to buy the hardback next time I visit a store.
I have the feeling my enjoyment won't be a very common opinion. This book has layers. And to be honest, I don't fully understand this book. I don't know about castes, as an example, so some of this book went over my head.
Before we begin, do you have a book which needs editing? Do you want to read more reviews? Here is a link: The Rest of My In Depth Reviews
WHAT IS THE TARGET AUDIENCE? WHAT GENRES? WHAT MAJOR TROPES?

• Magical Realism
• South Asian
• Buddhism
• 15+ years old
• A wee bit horny at moments
• LGBT

MY EMOTIONAL RESPONSE/ FUN FACTOR
This book is steeped in Southern Asian culture, a culture I'm not a part of. I'm writing this review in good faith, but I'm well aware I'm approaching this from a place of ignorance. So as you read this, please give me the benefit of the doubt if I make any mistakes.
This novel is a cultural critique of how a Buddhist society can use Buddhism as a cudgel to legitimize control and oppress minorities.
At the same time this book has a surreal bent. The main antagonist, 'The Perfect and Kind,' has reality warping power. Here's a spoiler: at one point, the protagonist is about to assassinate 'The Perfect and Kind.' To survive the assassination attempt, 'The Perfect and Kind' rewrites the events of the prior three days to prevent the assassination from ever happening. This is just the tip of the spear in terms of how weird this book is.
I really enjoyed this book, and was never bored. Now that said, the book only kicks into high-gear about halfway through. Before the halfway point, it is a traditional rebellion against authority story; after the halfway point, it becomes a surreal rebellion.
If you like traditional Western fight-scene focused fantasy novels, this book will not provide that. This book is more focused on how governments use violence against their people; violence is the tool of the enemy in this book, not the heroes.
BIASES STATED
To put this review/study in proper context, you must know my starting point.
Just being honest with ya'll, when I heard this was nominated for a Hugo I assumed it would be a bad book; I read last year's Hugo slate and they left me underwhelmed. (Yeah, I know how shallow that sounds. But I bounced off HARD from last year's slate and especially last year's drama.)
I was pleasantly surprised upon reading 'The Saint of Bright Doors.' It's actually good!
SIMILAR BOOKS/OTHER BOOKS IN THE SERIES

• 'The City and the City' by China Mieville
• 'Ombria in Shadow' by Patricia McKillip
• 'Senlin Ascends' by Josiah Bancrof
• Amber by Zelazny
• 'The Lathe of Heaven' by Ursula K. LeGuin

CONCEPT AND EXECUTION
In the Buddhist tradition, when the Buddha began his spiritual journey he abandoned his wife and child. For the Buddha to find personal enlightenment, he had to renounce all worldly attachments, including family. His son was such a fetter.
'The Saint of Bright Doors' is about a man named Fetter, the abandoned son of a living god called 'The Perfect and Kind.' Fetter now wants to kill his father 'The Perfect and Kind' in revenge for being abandoned as a child.
This book is about the complicated relationship people can have with Buddhism. In the West, we like to think of Buddhism as a nonviolent religion; in truth, Buddhists are as capable of violence as anyone else. This book features castes, needlessly bureaucratic government, religious abuse, and a police state... with 'The Perfect and Kind' (aka the Buddha) being able to meddle with and control all of it. The author is from Sri Lanka, where Buddhist monks play an active role in politics; I'm just guessing that in some way frustration with the status quo in Sri Lanka informed the writing of this novel.
On top of it all is a heaping-helping of magical realism.
At one point, the protagonist is imprisoned for a crime, and he's sent to a prison which (I think) is loosely based on a bureaucratic vision of a Buddhist hellish afterlife. What follows is a surreal, Kafka-esque sequence of bureaucratic madness. The protagonist doesn't even know why he's imprisoned... indeed, no one imprisoned knows why they're in Hell/prison. It's never explained why Fetter was sent to Hell, and that's the point. In Buddhism, everything is empty of meaning, even death; spiritually, this imprisonment is pointless. It also represents a government system run amok, repressing people merely to save face without making anyone actually safer.
The sequence in hell/prison reminded me of Josiah Bancrof's 'Books of Babel,' where characters enter the tower of Babel on vacation, and in order to climb the tower you have to join the culture of the locals in the tower and act as the locals act to progress. No one in the tower of Babel understands how or why the tower exists, just as no one in this book understands why the hell/prison in 'The Saint of Bright Doors' is as baffling in the way it is.
Even after Fetter escapes prison, he's not truly escaped; the vicissitudes of samsara follows him back to Luriat, for Luriat's police state is just another layer of imprisonment. He realizes that even though he escaped the physical prison, he'll never escape the spiritual prison, for the entire world is a prison. Fetter tries to escape suffering by escaping prison, and it doesn't work. Suffering follows him out.
It was with this realization that this book came into it's own. When he realized he'd always be entrapped in a prison of his father's creation, it became more necessary than ever to fight and rebel against his father.
Some of the reviews I read for this book claim that this book is listless, where Fetter goes from one random adventure to another without a solid link between them. This time in prison is one such 'listless' adventure. I think they're wrong about it being 'listless.'

• The 'listless' adventures which annoyed those reviewers are spiritual echoes of his father's evil. Many of the devils in the world are a direct result of his father manipulating reality; likewise, the government is controlled by his father. Ergo, all the minor adventures caused by devils and Bright Doors and the bureaucratic government are his father's fault.
• Fetter spends the first half of the book running away from his destiny of killing his father, only to have many small problems come his way. And yet Fetter never puts 2+2 together and realizes that the minor problems he faces are due to his father. Running away is just making his problems worse.
• I think the 'listlessness' is a deliberate character choice by the author, demonstrating Fetter's willingness to tolerate the intolerable status quo because he is so intent on not fulfilling his destiny.
• This is good characterization and good subtext by the author. I appreciate that the author did not hold the hand of the reader and spell it out, and instead trusted the reader to figure it out on their own.

CHARACTERS, CHARACTERIZATION AND DIALOG
'The Perfect and Kind' is this book's antagonist, but I wouldn't call him evil. The author is very careful to point out that 'The Perfect and Kind' rejects all forms of duality; thus, evil simply doesn't apply to him because 'good and evil' are a duality. If we reject duality, we must simply assume his actions are performed because of simple human ambition.
'The Perfect and Kind' becomes the antagonist because the government of the city use his religion as a rallying cry to justify pogroms, mass-imprisonment, and censoring dissent. Even the clergy of 'The Perfect and Kind' religion take part in the chaos.
Fetter's Mother is a secondary antagonist. The Mother-of-Glory is the jilted lover left behind by 'The Perfect and Kind' when he became a renunciate monk; she swore revenge and raised Fetter from a young age to be an assassin and kill his father. She is justified in her rage: 'The Perfect and Kind' learned her culture's traditional magics, and learned them better than anyone who had come before. He used those magics to become a god, dumped her, and then rewrote reality so no one would ever know that's how he ascended.
Fetter himself is emotionally repressed. After escaping his mother's death cult, he's joined a support group for Almost-Chosen Ones, trying to gain his own agency away from his towering destiny. He and his friends lead a rebellion against the status quo, trying to topple the oppressive government.
I liked how Fetter felt a pull towards both parents: I don't know if the author intended to write a Daoist character, but I saw his parents as opposite poles. His mother is very Yang: she's frequently quoted as saying 'change only comes through directed violence.' His father is very Yin: 'The Perfect and Kind' prefers to solve problems by indirect means, such as discussion or manipulation. (My goodness, their marriage must have been a mess.)
Fetter defeats BOTH parents after he learned BOTH of their strengths: he used his mother's rage to lead the revolt, while he used his father's emotional stability to not be washed away in the madness of the cycles of violence which eternally rip Luriat apart. That is a solid character arc.
And yet, the story seems to hold Fetter at an emotional arm's length. I personally feel like the story did a decent job of exploring Fetter's emotionality, but I wanted the book to explore his emotions a bit more. His love story in particular felt underdeveloped.
PLOT, STAKES AND TENSION
The first half of the book was devoted to a growing rebellion against the repressive government of Luriat, while Fetter is desperately rejecting his destiny of killing his father. In the second half, 'The Perfect and Kind' moves to Luriat and takes over it's repressive government. Now Fetter must kill his father to save Luriat and fulfill his destiny, whether he likes it or not.
The first half of the book feels 'normal' (aka, not slipstream), while the addition of 'The Perfect and Kind' in the second half of the book makes the book feel 'weird,' as the very fabric of narrative reality begins to break down. This 'weirdness' gives the book an uneven texture while reading. This uneven texture isn't necessarily a bad thing! Indeed, I wish the author leaned it the uneven texture more. More on this later, when I discuss setting.
The book had minimal tension. At one point important named characters begin to die, and I was left unmoved. I think the author wanted to evoke sadness in the reader when important named characters began to die, but I was so emotionally detached from the characters in this book that I didn't feel sadness.
(You know how I said 'I wanted the book to explore his emotions a bit more' above? The book didn't do enough to sell me on those emotions, and the tension suffered because of it. At least for me.)
Additionally, the whole slipstream-y-ness of this book added a further layer of detachment to the book. This book was so 'anything goes' when it comes to 'cause and effect' that I was left questioning whether or not dead characters were actually dead, or if they would come back. This narrative played by it's own rules, for both good and ill.
And it's fine if this book doesn't have cutthroat tension. Not all books have to have world-ending stakes.
One thing I liked was how the death of 'The Perfect and Kind' does NOT solve the city's problems. Yes, 'The Perfect and Kind' was meddling with events in an effort to consolidate his power, however human nature was always the problem. Luriat had problems before he arrived, and will still have problems after his death, because suffering is the default state of the universe.
The author successfully used foreshadowing to set up and pay off several prophesies. I like pointing out when an author successfully uses foreshadowing, because so many don't.
AUTHORIAL VOICE (TONE, PROSE AND THEME)
I liked the authorial voice of this book. It is very pretty. Here's a link to the goodreads quotation page for a taste of some of it.
As for theme, this book exists in a Buddhist context, but strikes me as being counter-cultural to the Buddhist message. I dunno, I'm Western so I don't feel expert enough to speak as an authority on how this book should be interpreted. But the Buddha is the bad guy in this.
If I'm reading this book right, I think this book re-enacts the life of the Shakyamuni Buddha, but told from his son's perspective. But it also adds a queer lens: not only is Fetter gay, but 'The Perfect and Kind' and the Mother-of-Glory both have same sex lovers. It also adds a modern lens, with computers and bureaucratic governments and social media. It also adds a decolonialist lens; 'The Perfect and Kind' conquered Luriat and the hinterlands. This conquest upset the local Mother, whose entire culture was subsumed and forgotten.
If I'm reading this book right, this book engages with Buddhism as a historical entity and local custom, as opposed to it's theology. It doesn't engage with the Eightfold Path or the Four Noble Truths, but instead looks at how the clerics and monks of the religion can lead pogroms and persecutions. The book isn't wrong to be so jaded; right now Sri Lanka is going through some stuff, and Buddhist monks are playing a political role on both sides. It must be disheartening to see your religion tearing itself apart like that.
This books is a very interstitial. Fetter is the biracial child in a city where you get categorized according to race. He's stuck in-between loyalty to his warring parents and their warring philosophical worldviews. Queerness is innately interstitial. And the theme of doors opening to nowhere is innately interstitial.
SETTING, WORLDBUILDING AND ORIGINALITY
The city of Luriat is a character in and of itself. It is located on a magical confluence, where reality never seems to quite stay pinned down. There exist Bright Doors in Luriat; doors which open into almost-was worlds which once existed but are now forgotten. A harsh and nonsensical bureaucracy has taken control of the city of Luriat, to clamp-down on the wild magics and diseases which wash through the place regularly... though in actual practice, the bureaucracy is used by factions to punish their enemies without cause. I'd compare it to 'The City and the City' by China Mieville.
The culture of people in Luriat changes on a whim, and the protagonist can never be quite certain it changed because of the constant reality warping or because he simply missed out on the newest social media wave.

• You know the feeling of logging onto twitter for the first time in a month, and finding references to a weird Highly Online Drama you have no context of?
• Luriat is like that. Because so much reality-altering magic is flying around, Fetter can't be sure the oddness of the city is because of the magic, or because of some cultural shift which Fetter missed because he's been busy doing other things.

I liked how the author used the surreal, dreamlike feel of Luriat as a metaphor to discuss the rapid-fire nature of cultural developments on places like Twitter, though I don't know if that was deliberate by the author or if I'm just reading into things. The setting is intentionally confusing, and it's wonderful. Luriat is a vibrant megalopolis, which refuses to be pinned down.
NOW THAT SAID, it could have been better. This book constantly cites castes and races are at the heart of the various conflicts in the story: what races were these, what castes are these? How do they relate to one another? The book points out multiple factions of Kings and Queens. Who are they? Gimme answers.
Now imagine if the narrative described these castes and factions in the first half of the novel. When reality starts changing, the reader would feel those changes all the more intensely. What if caste A represses caste B in the first timeline, only for caste B to repress caste A in the second timeline? Because the book never explored the details of the conflicts in question, when they changed it wasn't impactful.
If you've played Bioshock Infinite, there is a sequence when timelines begin to merge, when a Theocratic Conservative government loses power to a Worker's Rebellion a la the Haitian Revolution. I wanted a dramatic moment like that to happen in 'Saint of Bright Doors,' when it seems like the whole world changes in the blink of the eye. I feel like the book could have done more with the whole retroactive reality warping thing.
And finally, I have to complement how the author used the topic of architecture to discuss Luriat's history. By discussing different construction styles, this gave Luriat a feeling of timeless depth. A lot of fantasy books I read feel a bit skin-deep, with only a little bit of history; Luriat feels like it's been around for A WHILE. I liked that.
AUDIOBOOK NOTES
I listened to the audiobook. The audiobook narrator was VERY GOOD... however, this book is confusing. I had to back up and re-listen to segments more than once to make sure I understood was was going on. I suggest you read a paper or ebook version of this book; it might help with the clarity. Also, the prose is beautiful enough that reading it with your eyes might help you savor it more.
LESSONS LEARNED
As an author, I want to improve my own writing/editing skills. To that end, I like to learn lessons from every story I read. Here's what I learned from this story:

• Play around with narrative cause-and-effect. In the West, it's common convention that the events in a book must make sense in logical order. This book was compelling in part because it was willing to detach logical cause from effect.

Here's a link to all the lessons I've previously learned.

I watched the famous Franco Zeffirelli 1968 adaptation, which won Oscars (for dresses of cource), Globes and BAFTA.
And it's exactly how I envisioned this play before reading it - a primitive and snotty overdramatic melodrama. A lot of stuff cut out, jokes just lost, dialog sound like more like normal speech . The theatricality was flushed down the toilet. It's all through some kind of rose-colored filter. But this isn't Shakespeare's work, it's more Arthur Brooke's Romeo and Juliet, which Shakespeare took to turn into his play.
It's like taking some Tarantino movie, simplifying the structure, removing the gaudiness, stripping it of its famous dialog to make it into a 50s-70s movie, which is what Tarantino parodied. What's most damning is that it still remains a version of Shakespeare. It also takes place over a few days, not months like the original trilogy, which kills the seriousness of this tragedy.
Also, as far as I know, in the original text Romeo dies of poison slowly, in the girl's arms (imagine dialog that could be here, but here is non), and then she stabs herself and that's where it ends. And here that comedic element is retained, when he's already dead and she's awake. Here Paris, who is supposed to play the expected role of the villain, (if it is logical to follow this interpretation and continue to make a primitive drama without respect for the original), whose marriage stands between the lovers, disappears altogether after the first meeting and ball. There's that scene in the crypt where Romeo kills him - just non existent (And the prince still complains about the relative), and yet in play he's the good gentleman who went to defend the honor of the dead beloved and lost his life for it. Although in the Shakespeare's play it barrely there, this is a good drama in itself that was just omitted. There are no elements here that could have been used to make this a pre-Titanic benchmark drama, but there are details that do devalue it, but it's all served up in hyper-serious slapstick.
I feel sorry for the English-speaking students who are shown this in schools (lots of reviews from them on letterboxd) and then are left with the impression of the classics as something this primitive. (I felt the same when re-acknowledged Pushkin as adult) It would be better if teachers read them about chivalric novels about love, like “Tristan and Isolde”.
P.S. Sorry if there mistakes in text, i'd use deepL.

Hi there! I'm a 25-year-old female in the EST time zone. Feel free to send me a chat after you've read this post fully.
I am looking for a 21+ male to do a long-term roleplay with. I have been roleplaying for 10+ years so I have a good sense of what I like and dislike. Please read below for what my expectations are:
Plots ~ My usual plots are a slice of life with some twists. For example, a plot I've enjoyed in the past is a married couple trying to cope with famed lives and busy schedules. It sounds simple but I'm the kind of writer who will randomly introduce somber or tragic elements at once or romantic bits at once. In all, I'm looking for something with equal portions of romance, drama, tragedy, angst, twists, and [other things]. I prefer to stick to the kind of plots I have mentioned below. I do not enjoy sci-fi or fantasy plots.
Writing style ~ I am detailed when needed so I prefer my partner to be the same way. I expect a minimum of 7-8 lines though. For example, a dialogic bit in the roleplay doesn't always need 2 paragraphs. But other instances do so I am hoping to find someone who adapts the same way. I also need my partner to be able to play multiple characters as the plot may require, but that being said, your character will always remain the main one.
Writing expectations ~ I write in the third person but I'm open to whatever you're comfortable with. I prefer someone who can do more than 2 replies a day. I tend to be busy during the day but I'm usually free evenings or late nights. But either way, I like to communicate whether I will be active that day or not. I expect the same from my partner. Don't bother if you're going to get disappear after 3 days without so much so a text.
And finally, proper grammar. I'm a stickler so I'm only looking for someone who can use proper grammar. It's not hard to write 'you' instead of 'u,' sure. But I prefer advanced grammar usage also (i.e., know your quotation marks). I am a fully lit writer so I expect my partner to be the same.
Involvement ~ I prefer if you take the lead as well in furthering the plot instead of leaving it all to me. I am a very flexible and open-minded writer when it comes to plots. I can almost make anything out of something so I want someone who can contribute equally to the storyline.
Communication ~ Discord or Chatzy only. That being said, please do not reach out to me if your intention isn't to work through things to create a roleplay or reply once every 2-3 days. I'm an open communicator so I expect the same from you. If you don't like a response I wrote, you can tell me and I will happily change it. But don't reach out to me thinking it'll be something you 'try out' and then ghost me after. If you plan on ghosting me by the end of this, please save us both our time and don’t bother. If worst comes to worst and you really hate what we're creating, let me know that you want to end and I will happily accept that. If you are not going to be able to do 2 replies a day because life comes first and a Monday is particularly busy for you, I prefer you let me know. If you know you are going to be busy the next month, please don't reach out. I prefer consistency.
OOC ~ I prefer to have a friend in the partner I roleplay with. Not to the point that all we ever do is chat and occasional roleplay on the side though. I want to be able to discuss likes and dislikes with you and have some friendly banter. I do NOT send pictures, videos, or audio of any kind, so please don’t ask. It sucks that I have to mention this but oh well - please do not reach out to me if you're in a relationship with someone unless your wife/partnegirlfriend is aware of your roleplaying hobby.
I have some plot ideas listed below but as I mentioned, I'm very open to modifications, creating something new, or listening to plot ideas that you may have.
Hired girlfriend
Fame and distance
Underground fighting and its problems
If this is interesting to you, please send me a chat request. Please say something more than a hello. Please tell me your favorite color so I know my essay on here didn't go to a complete waste. Tell me what you liked, what you're looking for - anything that will help me respond better to you.

If you're anything like me, a good Audio Drama can be a lifeline to a good day. So here are a few of my recommendations that I really wish there were more of:
Chrysalis

• This is hard Sci-Fi, AI, Human, and Alien-themed, told dramatically from a couple of different perspectives. It's a major exploration of humanity, of perspective, and technology, told with incredible writing as well as voice acting.

The Book of Constellations

• With minimal voice actors, but great characters, this story is somewhere between Sci-Fi and Fantasy, with an oddly warm, charming, and hopeful tone, despite the often sad, traumatic subject matter. It oscillates between despair, adventure and danger. Trigger warning: Suicide is an early subject matter.

Tower 4

• Told partially through the thoughts of the narrator, and through character interactions of mainly 2 people, this alone-in-the-woods story slowly reveals a bigger environment through strange events and eventually, shifting perspective. It's quite addicting in the way the TV show LOST was addicting.

Malevolent

• Similar to Tower 4, most of the dialog is between two extremely dynamic characters, but this is hard Fantasy, and the adventures are really dark, wild, and a bit scary. I would compare it to the Silent Hill games. However, the relationship between the main characters is everything.

If you haven't listened to any of these, I really hope you like them.
Do you have any recommendations that are similar to the ones above?

I created this to talk about the drama someplace cause not many people are talking about it. What happened to the distribution of the drama is unfortunate and I am very dissapointed that no one even knows or cares about it outside of a portion of bts fans... but we can still pirate it online and discuss/theorise... I just wish more people were on it.
Anyway personally I really enjoyed the drama thus far (8 eps in). I feel like objectively it could be considered somewhat boring/slow for people with no knowledge of the bu but as someone that already knows of the characters and story I was invested from the get go. I am satisfied with the casting and the acting of all of our characters... Even if some don't resemble the members that much they all capture the essence of the characters.
I've seen comments about the production being low budget and while it's definately not the highiest there is, I think it works for what it wants to show (I mean the house fire cgi was not the best but idc about that). But I do have some observations when it comes to the sound and the direction of the drama... It feels outside of the songs the show barely has any music at all.. like it is too silent at times. The direction and transition of scenes is also a bit off to me. The humour is lacking too not because of the actors but because of the direction imo. I barely notice when some dialoge is supposed to be comedic. I love the inclusion of the bts songs although the scene they played truth untold it didn't fit to me and when they played microcosmos it cut too abruptly.
The writting of the characters is so good! They did such a good job to showcase everyones struggle and they really do feel like realistic troubled young kids. I feel for all of them and I have cried several times. Their relationship with one another was also done well, I loved the different dynamics between them. While the bu is mostly focused on the specific pairs the show showcases the relatioship with different members as well and I prefer it like that. I also like how big role the families play into their lifes it makes it more realistic.
Now my favorite characters in order are:
-Jooan: Maybe I am a bit biased sinse v is my bias but I've always found his story to be one of the most compelling ones. I loved the added nuance in his relatioship with his father and honestly every scene that has to do with his problems has my upmost interest. His loud, innocent, agressive at times personallity stands out and the actor did very good job portraying him.
-Cein: Honestly before this drama I kind of overlooked sugas storyline. The show has made me much more invested. I liked how they made him a rumoured troublemaker... and now that we know the principal has it out for him because of his mother (which shame on him for whatever he did to her) his upcoming expolsion makes even more sense... Ngl that part in the bu with the expulsion felt a bit too light for the consequences it had imo but it looks like it will be a bit different here and I'm all for it.
-Haru: Another one I appreciate more because of the show. I liked the way they showed his mental problems and his family treatment of him while it is the most frustrating out of everyone in the show to watch it is also very interesting. He is one of the most tragic chararcters for me.
-Jeha: I don't remember much in the bu about his family.. it was more focused on him and his need to be with the boys. Anyways I loved everything they did with his family, you really come to understand more clearly his constant need for attention and love from the boys. I would say after haru he is the one going through the most mentally at the moment. (When the others ignored him/teased him for being younger I felt so bad,.. that's the worst person they could have done that to)
-Hwan: His character can be a bit one note cause he is more low-key than the others and I can't say I agree with everything he does like calling the cops two times in the 1st ep and not even looking for the money when they asked you to constantly?? Not to say that I don't like him, I like all of them ofc. His story is the main one and his father is the most interesting character outside of the main cast.
-Dogeon: I like him especially when it comes to his relatioship with the others like jooan, Hosu. I feel for his situation and to me he is the most easily relatable out of all the characters. It's just that his story doesn't interest me as much as the others.
-Hosu: He is very sweet and I appretiate his positivity. My only issue with him is that in comparison with the others he doesn't seem have as much going on. It's all about him being an orphan and longing for his mother. But of course like the others he is well written and the scene with him and Dogeon at the container is one of the best moments in the show (and I cried)

We are a two-man team from Northern Europe (Germany and Denmark) looking for an artist to partner with us! We want to release a visual novel soon (more than 70% completed with a playable demo) and create a JRPG sequel (passion project with 5 years worth of love going into the project) set in the same world after that. The world we are working on is set in a dystopian Solarpunk future. The visual novel is a coming-of-age drama full of interesting choices, while the JRPG is a humorous dramedy, offering a balanced blend of thought-provoking themes and laughter.
This should also be shown in the art of the game!
The VN project offers:
* It is a coming-of-age drama full of exciting world-building, love, and action.
* 6+ different endings with several different paths to take.
* We can provide a playable demo (made with assets) upon request.
* Educational aspects show the gruesome world of the Hitler youth through a sci-fi lens.
* Join a game that will be released soon.
* Needs: 11 Backgrounds, 7 characters (3 with additional outfits and 5 expressions each) and UI.
The JRPG project offers:
* A balanced blend of comedy and mature drama, bringing depth to characters and narrative.
* Innovative dialog fighting system based on psychological research.
* Meaningful choices lead to distinct endings, empowering players' agency.
* The fresh world is set with Solarpunk aesthetics and a colorful ocean to explore.
* Educational aspect, shedding light on the horrors of WW2 and the dangers of fascist movements.
* A detailed and long GDD full of visual explanations.
* Needs: Things needed include in the JRPG for example are character designs, enemy designs, tile sets, facial expressions, and more.
* Additionally (of course, only if wanted), the artist will have access to a handpicked collection of 400+ reference materials that will serve as inspiration.
I'm seeking a (pixel) artist to join us two! The revenue generated from the game's launch will be shared equally (we are considering releasing the VN for free in a basic version). We work with the GameMaker engine.
Our (pixel) artists will have ample creative freedom within the project, enabling them to infuse their artistic vision. Let’s create great game visuals that will get the players’ attention! We would also consider other art styles if they fit the world.
We would love to work with someone reliable who is over 18 at a minimum.
So please give us a swing, and let's build a game we'll all be proud of!

When I imagine speaking to the youth of today – also known as the adults of tomorrow, some of whom will be titans of industry and makers of rain – I picture them
teetering on one end of a sort of lever, counterbalanced by the weight at the other end, which is produced from my memories of youth
by which I mean, me and my peers when we were young, watching American industry try to resuscitate itself, fail, make do with what was left
which consisted of an expanded service industry, riding on the metaphor of family, that paid by the hour, plus promises of better days to come
such as when the Russians invade, after which the survival skills we cultivated as members of the underclass would inform a new conception of leadership
which conception of the future was recreated through the eighties and nineties by substituting the ability to change the oil in your car and grow your own food with hedge-fund management and computer hacking
but which delirium about the future is now coming back to haunt my generation – which is now, ha-ha, a widely co-opted brand name – X – but more to the point, has added to the original complaint about American dreams unrealized with a new one about even bad dreams – dystopias, we call them – likewise ignored.
In response, we elected a member of the kleptocracy, gave him surplus capital whenever he asked for it, applied the aesthetic of pro-wrestling to big-time politics, old-time religion, real-time journalism
which modes of cultural production were made principally for me and people like me – a first-generation college student from the hinterlands who paid his own way through college by performing manual labor, all with a post-apartheid relationship to race and gender –
and thus my friends and I, youth that we were, waded through vast detention ponds of cultural runoff to know anything at all.
In between today’s youth and me is the cultural object called The Matrix – Lana and Lilly, 1999 – considered in this case as a singular experience, without the sequels.
The film came out of nowhere, sprang to life from the end of a wire, hyperreal authority so spectacularly rendered, a new kind of cinema seemed possible.
Sure, there were premonitions – Ghost in the Shell manga, William Gibson’s cyberpunk, Philip K. Dick’s exegesis.
But the Matrix is a cultural fulcrum across the generations, even though it’s aged – well? unwell? Both choices seem less important than the implied premise of The Matrix
which is that it wouldn’t age at all, just as Keanu is known not to age, and not due to some nefarious deal with you-know-who but because the film’s implied premise was emancipation from the tragic condition.
The movie depicts human evolution occurring across a single lifespan, ending in a condition of immortality, based on a biological premise of metamorphosis – larva to pupa to adult –
with most of the movie’s runtime taking place in the pupa stage, where the characters mostly stop eating and growing, focus on precipitating transformation, whatever that turns out to be – the pupas don’t really know.
The pupas say, woe is us – the reality of being a larva was a secondary ontology all along! The pupas say, we must not settle for being an energy source for something else!
The pupas say, somehow, someway, we will break free of this, this – gestures to body – this carceral construct! The movie would have known itself better had its final scene been of Keanu leaping up from a lily pad, fluttering away.
When I imagine citing The Matrix to the generation that attends classes in the bricks-and-mortar campus that surrounds me, curricula informed by expertise fully on display, something the kids pay six figures for,
I picture some great percentage of them wondering why liberation is given such high status as compared to the other ways one might use existential risk.
Why does the movie have them do it? What do they stand to gain from fomenting rebellion when the alternative is quite literally the post-industrial human conception of heaven – programmable reality of one’s choosing?
The Matrix begins with a premise that humanity has solved the hard problem of consciousness – the nature of subjective experience is understood and instrumentalized. Any will to rebellion after that would seem to require some post-human motive, especially given that the indigenous world – according to the logic of the movie – is functionally unlivable.
Keanu was recruited – The Matrix is a recruitment film – then hemmed and hawed about the oblique offer on the table, before accepting without really knowing anything about what would happen – uninformed consent, social science calls it – which in the very next scene meant being executed, while the people around him eagerly watched – they killed him with that red pill he swallowed.
Due to the premise of mass hallucination, the red-pill homicide turned out to be a kind of transmigration of the soul – from late-stage capitalist dystopia to a toxic desert dystopia, with a backstory that refers to future earth but, let’s face it, could be anywhere at any time.
Let’s face it – it’s hell. Keanu dies by some means – did he jump off the ledge of that building in that one scene? – and then he wakes up in hell. We don’t know that at first – people care about him, welcome him to the world of pupas – so long office larvae, nice to know ya –
but when the new terms and conditions become clear, there’s no denying that it is a worst-case scenario – not just a loss of one’s selfhood but the loss of literally all selfhood, along with self-determination as a credible goal. Hell.
The rest of the movie might have been about moral redemption, but instead – because it is an action movie – Keanu must fight his way out. He was recruited to be a killer, and his choice of weapons and targets is unlimited.
The Matrix is a recruitment film that fetishizes computer hacking as a combat sport with all the global existential drama anyone could want. Does it seem so farfetched that the NSA, having been dressed down in Goodwill Hunting just a couple of years earlier, would be foreseeing an age when those prone to digital transgressive behavior
would be recruited to create the first cyberweapons? To become the first state-sponsored cyber terrorists? Would need their own mythopoetics?
I don’t especially believe the NSA or CIA or Mossad or any other secretive agency with a public mandate to secure preeminent authority – I don’t especially believe they need a pop culture phenomenon like The Matrix to sell their intentions to the next generation. Maybe they’re just trying to cover their bases.
When I was recruited – by a ghost – the hyperreal premise of the old world being an unreal world was not hallucinatory but actual, and the actual condition wasn’t about the body but about our relationship to authority – we believed we had authority when we didn’t.
This is an important difference between the movie and real life – both play off the notion of uninformed consent, but the movie does so because it doesn’t seem to matter – the reality is empirically fraudulent, and therefore any notion of consent would be, too – whereas in real life, I found personal volition to be widely disabled, due the advantages that arise from doing so.
The hyperreal can make every decision better than we can, and so decision making becomes performative. The hyperreal can negotiate every relationship better than we can, so the social fabric of human life becomes synthetic. The hyperreal can manage command-and-control structures of every sort better than we can, so the reproduction of systemic authority becomes even more opaque, even more removed from something we can hold in our hands.
Compare this to guns, which are designed to be held in the hand and at the push of a button, which is what the pull of a trigger really is – guns are push-button technology – at the mere pressing of a button by one’s forefinger of either hand, one attains the phenomenology of the divine by determining life from death.
As of this writing, there are thought to be about 400 million of these devices in the nation – more guns than citizens – which nation is likewise paving the way for plausible genocide in the Gaza Strip by supplying the ammunition and global political cover. // There is no such thing as a handheld push-button device that does the opposite of a gun – one for instantly creating life from nothing.
Notice, just in passing, that if indeed Keanu went to hell after jumping off that building, his complicity in his own condemnation is part of the story: he was warned away from the violent resistance movement, but when they came calling, he followed their orders, and a short while later, they pulled the old red pill-blue pill routine, knowing he was unable to provide informed consent but wanting choice to seem like part of the narrative of his own demise.
We know it was us who scorched the sky, says Morpheus to Neo, meaning the humans, which is either literally an extinction event – hell – or a metaphor for the modernist delusion becoming permanent – heck.
Dear late-stage capitalism: did we do it to ourselves? Did we place our bodies into the backseats of self-driving cars? Tell the computers in charge to step on it?
When I was recruited by the matrix, the terms and conditions were likewise murky, including the very idea that recruitment was what was happening.
The actual recruitment did involve a death – a near-death experience to be precise, which occurred to me in autumn 2002, in which I watched my life flash before my eyes
which in practice, is a first-person observation of one’s consciousness being downloaded by something nonphysical outside of oneself. The matrix had me.
I did not have anyone offer me a red pill, but in its place, and with uninformed consent still the motif, I was offered strawberry rhubarb jam. Red jam.
And then I died – vomiting in a bathroom with my life flashing before my eyes. Where did my source of consciousness go from there?
Some questions don’t lend themselves to simple answers. For instance: the process of splitting cause from effect has been amply demonstrated to me – it is a characteristic of nonlocal forms of authority in the hyperreal. A cause can take place over here, and the effect can take place over there.
To put this another way – when the matrix has you, it doesn’t falsify material reality but asserts an authority that supersedes material reality in all kinds of specific ways. There is more, not less, to the nature of reality – two worlds functioning together – and I was existing in both.
This is analogous to the nature of reality as we conceive of it traditionally – there is the reality outside of the body, and there is the reality we experience as a characteristic of mind – when I think of everything outside of me, I know this is my interior reality creating an illusion of outer reality.
A ghost examining a human from all sides at once would say: how odd! The measurable reality outside of the body is being reflected across the electrochemical processes of neurophysiology – there is a kind of miniature version of outside happening inside the skull.
Being outside of the matrix, then, was about developing a primary relationship to outer reality based on a sense of mind other than our own.
My experiences with the hyperreal were acquired on a daily basis – more like vocabulary building than military training. I never purchased any weapons.
In fact, I became much more devout in my commitment to peace. Being in the presence of forms of authority that circumscribe the material world so fluently also means human agency has found its limits, and after bouts of mourning and weathered crises, a sense of calm presided.
World peace isn’t just the right answer or the nice answer or the answer above all others – it is also a self-evident truth when one is persistently in the company of transcendental authority that makes formulations like inside and out-, private and public, owned and rented, living and dead – seem like formalities derived from the geologic paradigm.
Look at the apes and their private property! Look at the hairy hominids lost in thought!
The peace church I live in, earlier in the season, serendipitously acquired from a curb, two finely upholstered red chairs that look remarkably like the ones in The Matrix, in the scene when the mentor explains what the matrix is to the mentee.
No, seriously – they are the same. They were being thrown away. They were brought to the peace church and, look, just have a seat, and I’ll explain it. Would you like something to drink? To eat? I believe I have some hot tea, biscuits and jam around here somewhere.
Those two upscale secondhand chairs are setting in the room below me right now, and I keep wondering whether I will soon be sitting across from the mentor or the mentee – either could be true at this point. I could as easily have an earnest student show up at my door as the one who explains to me what this is all about.
Let’s say I’m assigned the role of explainer, blackout shades optional – what would I say to some bewildered soul fished out of a metaphysical sewer system and seated before me?
First off, this is not hell. In point of fact, one of the signature achievements you can look forward to in this reality is a rejuvenated relationship to a future that is not dystopic. We don’t live in that world yet, but someday we will.
Second, human authority has been circumscribed by another form of authority, which will turn out to be ourselves, but different than the subconscious – more like the superconscious but still outside of awareness. As you might expect, this is a source of confusion and suffering.
Third, the human future will involve a different way of conceiving of the mutability of reality – in addition to what we’ve made from the earth with our own two hands, up to and including sand that can think for itself by virtue of microchip fabrication plants –
plants –
in addition to that, humanity will be avidly engaged in the mutable characteristics of reality as a language form, especially in regard to our experience of consciousness.
This concept of the superconscious implies virtual characteristics of reality, and before goggles come to mind, know that virtual reality, as a premise, is about reality itself, not a mediated version of it, and thus the concept of virtuality is more like a frontier condition –
a more-than premise, not something less –
even if we don’t really know what it is, and if we do – if we experience a confidence in knowing – then the chances are, we are experiencing authority as it was, not as it is.
We watched new grain elevators appear – these monstrous silos, 8-stories tall, marching beside railroad tracks that sent the region’s agricultural output to the Gulf of Mexico. Simultaneously, banks were buying up all the land. Tractors would go on to become driverless.
So much of this is about the capacity to comprehend. For instance, you likely can’t comprehend ambient nontraditional forms of authority very well – everything just goes into a category.
When you develop ambient pattern-recognition capacities, your fluency produces a different experience of reality. The reality is dialogic – you are speaking to the solar mind.
At least that’s my reading. I hope I’m not going too fast. Does the chair feel comfy? Need a pillow for your lower back?
It was us who scorched the sky – is catastrophic climate change a metaphor for the uncertain changes imposed on our inner lives by the hyperreal?
When land masses flood, when fire engulfs a forest – are these allusions to the proliferation of hyper-deterministic systems? Paralysis resulting from the proliferation of consequence?
In the original movie, for cinematic reasons, the nature of the crisis is rendered as robots. In the lived condition, the roboticism appears in our deterministic assumptions about reality, about the mind, about the nature of nature as a universal concept.
In popular discourse, we call what’s happening now the contact experience – an invitation to engage in a post-geologic language form. And from there?
We are on reality’s porch, wanting to be let in. We are in reality’s bulb, waiting to glow.