How do you do the fleur de lis symbol on the keyboard

Daily Help/Questions/Fusion Suggestions Megathread 5/21/24

2024.05.21 06:10 Stanley232323 Daily Help/Questions/Fusion Suggestions Megathread 5/21/24

Hello everybody!
This is the Daily Megathread for general and simple questions as well as asking for advice on which Pokemon to use the fusion splicers on.
The goal of these Megathreads is to hopefully reduce the number of repeat posts and de-clog up the SubReddit.
If your post was deleted and you were redirected here please check the comments to make sure your question wasn't already asked and answered today.
If you're looking for a really well-written, in-depth beginners guide we have one pinned but you can also find it through this link: https://www.reddit.com/pokerogue/s/6ck9cZj0NG
I'll also include some common questions and answers so please check these below before repeating the same question.
(Most of these are from the official Wiki which can be found here as well as more info like which Pokemon are in which biomes, shiny odds, and the stat spread of each Dynamax form) : https://wiki.pokerogue.net/start
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Commonly asked questions:
Q: What does the pink box around some starters mean? A: The Pokemon has PKRS which increases the amount of Exp gained, the Pokemon will eventually spread it to your other Pokemon. Every day 3 random Pokemon are selected to have PKRS for that day
Q: What does the little blue and purple symbol by my starter mean? A: You have the Pokemon's Hidden Ability unlocked. When you catch a Pokemon you will know it has the Hidden Ability because the text will be Yellow. You will have to switch the Ability to use the Hidden Ability
Q: What do (P) or (N) next to a move or ability mean? A: (P) means Partially Implemented (usually for moves this means it does the attack but not the secondary effect) and (N) means Not Implemented. (Eventually everything will be implemented)
Q: Can you ever catch any Pokemon in the last biome of Classic? A: Once you have hatched the Pokemon from an egg you can catch duplicates of it ONLY IN CLASSIC MODE in the final biome
Q: How do I evolve this Pokemon? A: Any evolution that has been changed from the main games can be found here: https://wiki.pokerogue.net/gameplay:evolutions
Q: How does fusion work? A: In short, the 1st Pokemon you fuse will dictate the Passive ability (if you have it unlocked), the 1st type of the fusion, the Level, IVs, and Nature. The 2nd Pokemon will dictate the Ability of the Pokemon and the second typing (which will be the Pokemons second type if it is a dual-type). Luck is combined, learnset (including TM compatibility) are also combined. Note: if you unfuse them the second Pokemon will be lost Second Note: both sides can evolve normally but only the 1st half can Mega/Dynamax evolve or use items that change their form More info can be found here: https://wiki.pokerogue.net/gameplay:mechanics:fusion
Q: What is a "Manaphy egg"? A: An egg of the same rarity as an "Epic" egg that has a 7/8 chance of hatching a Phione and a 1/8 chance of hatching a Manaphy
Q: What does the (+1), (+2), (+3), etc. mean under my starters moves? A: You have more moves available to choose from than just what is listed, since a Pokemon can only have 4 at a time obviously you will have to change them if you want different ones
Q: What are some good starters for Classic mode? A: We actually have a Daily Voting/Tiering Project going on, you can sort the SubReddit by "Daily Tiering/Voting Posts" to see the most recent one which will have the updated tier list. If you want to know why a Pokemon was Voted a certain way or what makes it so good or how people use it successfully feel free to ask that specifically in this thread in the comments :)
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A few tips if you're asking for Fusion Suggestions:
Obviously post a picture of your team, but also include in the comment their Nature's, Abilities, current Moveset and whether you have the Passive Ability unlocked on them.
If your question wasn't on the list above or for suggestions on which Pokemon to Fuse from your current team feel free to ask in the comments of this thread :). Individual posts of these types will be removed to reduce the number of repeat posts in the Sub.
As always, Happy Roguing!

submitted by Stanley232323 to pokerogue [link] [comments]

2024.05.21 04:17 -The-Lovely-Lover- Fleur De Lis Tummy Tuck...has anyone had this procedure? Information and Advice please.

So I had my surgery planned for Wednesday with Sono Bello. After much consideration and them changing the surgeon on me late last week, I decided to get a second opinion with a plastic surgery doctor group. I had my consultation today...she noted many things that Sono Bello never did. Including the fact that I have a larger amount of skin that needs to be removed than most. She also went in to tell me that due to some interesting and rare "pockets" of skin under my breasts, I needed to consider the Fleur De Lis procedure instead of the traditional Tummy Tuck. She noted that my skin lays more horizontal (which makes me look wider than my frame). I am not worried about the extra scar, but more worried about the process of the surgery and recovery. Has anyone done this procedure? I would do it without muscle repair because I need my down time limited. Any information or advice would be greatly appreciated. Also if you could tell me how much it cost, that would be helpful. Thank you all in advance

submitted by -The-Lovely-Lover- to cosmeticsurgery [link] [comments]

2024.05.21 04:16 -The-Lovely-Lover- Fleur De Lis Tummy Tuck...has anyone had this procedure? Information and Advice please.

submitted by -The-Lovely-Lover- to PlasticSurgery [link] [comments]

2024.05.21 04:14 -The-Lovely-Lover- Fleur De Lis Tummy Tuck...has anyone had this procedure? Information and Advice please.

submitted by -The-Lovely-Lover- to tummytucksurgery [link] [comments]

2024.05.21 03:11 Wandering_Scarabs "Apep, Apep, Apep," - all together now!

Last week on my podcast, I took a shallow dive into the major problems I see in the Kemetic/Polytheistic communities at large. One of those problems prompted some interesting discussion already, specifically surrounding the superstitious fear of saying/writing the name “Apep,” or an obsessive need to immediately censor the word, in such communities. I wanted to explicitly look at why this completely misunderstands Egyptian religion in favor of contemporary superstition, why it could be considered legitimately dangerous to modern practitioners, and why it sums up the problems I see at large.
EDIT: two more important things have come up, better points than any of mine tbh. If these names had an inherent power of invocation tean anyone who ever wrote about the gods would now be polytheists. One needs the intent to invoke/evoke a god, and you simply shouldn't ever have that when writing Apep. Second, we can see lots of images of Apep drawn and written by the Egyptians in painstaking detail, and compare these to the desecration of gods like Set or hated Pharaohs. Heck by this logic Set is even worse to write than Apep as it was actually removed rather than part of the art.

The name for the force of primordial chaos we now call “Apep” is long lost. “Apep” is an English, best guess transliteration of the long dead hieroglyphic language. A language where we have literally no idea how it was supposed to sound. A language that was far more complex and spiritually charged than our joke of a language will ever be. So writing “Apep” or “Apophis” is not even close to invoking the force, unless you INTENTIONALLY go out of your way to invoke it. This is what matters, intention, which is why calling gods by their names in English still works out for us, we intend to invoke them, it is not the words or letters themselves.
As pointed out by a fellow practitioner (I will leave it to them to decide if they want to jump in), the very fear of the name is itself superstition rather than Kemeticism, indeed the latter had no fear of writing it, which they did often before destruction of the name in ritual. There is a serious superstitious fear in people that if they write the name and don’t cross it out, or write it at all, bad things will happen to them. It is the same paranoid, Christian-inspired, self-induced fear that we see with creeds like “harm ye none” when honestly the problem with Egypt was they were often quick to harm, or the fear that looking into anything outside of monotheism will lead to demon possession. This just is not how it worked, writing the name of a primordial force in a gross modern language is never going to have any impact on that force (nothing will, but more on that below). Further, I doubt this is ever seen through to its conclusion. For instance if you own any books on Egypt, the word Apep or other forms of it, maybe even the hieroglyphics, are already written in your home, oh no! Shall we cross out his name in all our books? Should we avoid websites that mention the name since we cannot desecrate it? Of course not.
Speaking of actual Egyptian practices, one must understand the effort behind ritual, and how that compares to ctrl+v-ing a crossed out name or putting slashes through it. Like if you were going to desecrate a name you'd make a pot, carve the name in, let it dry, smash it, etc. Or make sandals with the name embroidered on them. And note that the desecration would only come later on, it was meant to be desecrated in the future in such contexts, or over time. These are active ritual processes and I'd guess were often in response to something, not just out of habit or social signaling. One act is actual magic, the other is a lazy habit. And when those names were written there was no fear of them, or they would not have been written in the first place, even to be crossed out.
Continuing with historical Egypt, if the point of slashing-out “Apep” is to insult or attack the force, this completely misunderstands how names worked for our ancestors. The actual insult would be to not use the name at all, not even just its name (which again was not in English), but references to it, nicknames, etc., to not even think about it. But again this is not how Egypt saw Apep, they wrote about him, drew him, and SOMETIMES desecrated the name or image in rituals, which were significant events built on great effort, and not a simple keyboard habit. And it is precisely because Apep is weak that we can write about and depict him without fear.
This treatment of the name Apep misunderstands both what that force is, and how much power it has. For instance, as pointed out by my aforementioned peer, it makes us wary of an inaccurate name for the force, but not the force itself. To elaborate…

5a. One way to see Apep is as an always present force no matter how often you desecrate its name. You can see Apep in entropy, or in the chaos of a plagued mind, or a deteriorating body. This will literally never change, and desecrating the name Apep will have no effect on it, this is a symbolic act we as humans do to say “screw you,” not to eliminate some threat. And these are everyday threats that must be watched for, you cannot just cross out the name Apep and think you are good for the day, it remains a threat in this sense. Just take the association between Apep and entropy to its conclusion: do we also need to edit and censor the word “entropy?” Of course not!
5b. The other way to view Apep, what I lean towards, is as nothing. It is not some willful god or entity, it is just a mindless force of material nature (meaning its influence is always limited to the material realm, rather than the spiritual). In billions and billions of years Apep has not destroyed one thing, has not defeated one god (who we really should think more highly of than that they need us to cross out an english word to survive), has not ruined one life. To even suggest it does cause our problems (in my opinion since I pick 5b over 5a) not only gives Apep way more power and fear than it deserves, but takes the blame off of us when we mess things up and don’t feel like owning up to it. Apep is not our devil, is not some malevolent Abrahamic boogeyman, it is just a recognized force of nature with no will and that will never change or be influenced by the acts of humans.

Finally, the very idea of non-existence, of a god or individual returning to a state of primordial chaos, is a complete impossibility. Self-existence, such as that of our own and the gods, is a simple, axiomatic fact. For there to even being Apep, there must also be non-Apep, and it can never be otherwise. The very statement “I do not exist” cannot even be argued or conceived. This means that any fear of Apep, even historically speaking, is misplaced, a lack of understanding about the nature of the soul, a superstition. And that's okay, knowledge grows over time, just like we now know retainer sacrifices were wrong, and mummification/materialism is not needed for life after death. Honestly, not allowing knowledge to evolve in such a way gives Apep more praise than writing its name ever could.

Interestingly in this one topic we can see a lot of the problems I brought up manifested: the influence of Christian-based new ageism and superstition, the lack of objective/academic investigation into Egyptian belief and practices, unfamiliarity with even the basics of Egyptian beliefs and practices, the need for validation (such as a virtual pat on the back for slashing out Apep), and honestly just a plain laziness and desire to be handed everything on a silver platter immediately and without effort. These superstitious fears of Apep grant it more power over our lives than it ever could naturally have.
Edit: I agree with the below discussion that I've overstepped to some extent perhaps, but have chosen to leave this up to see if it spawns further discussion. That's not a recant, mind you lol.

submitted by Wandering_Scarabs to Kemetic [link] [comments]

2024.05.21 03:10 Wandering_Scarabs "Apep, Apep, Apep," - all together now!

The name for the force of primordial chaos we now call “Apep” is long lost. “Apep” is an English, best guess transliteration of the long dead hieroglyphic language. A language where we have literally no idea how it was supposed to sound. A language that was far more complex and spiritually charged than our joke of a language will ever be. So writing “Apep” or “Apophis” is not even close to invoking the force, unless you INTENTIONALLY go out of your way to invoke it. This is what matters, intention, which is why calling gods by their names in English still works out for us, we intend to invoke them, it is not the words or letters themselves.
As pointed out by a fellow practitioner (I will leave it to them to decide if they want to jump in), the very fear of the name is itself superstition rather than Kemeticism, indeed the latter had no fear of writing it, which they did often before destruction of the name in ritual. There is a serious superstitious fear in people that if they write the name and don’t cross it out, or write it at all, bad things will happen to them. It is the same paranoid, Christian-inspired, self-induced fear that we see with creeds like “harm ye none” when honestly the problem with Egypt was they were often quick to harm, or the fear that looking into anything outside of monotheism will lead to demon possession. This just is not how it worked, writing the name of a primordial force in a gross modern language is never going to have any impact on that force (nothing will, but more on that below). Further, I doubt this is ever seen through to its conclusion. For instance if you own any books on Egypt, the word Apep or other forms of it, maybe even the hieroglyphics, are already written in your home, oh no! Shall we cross out his name in all our books? Should we avoid websites that mention the name since we cannot desecrate it? Of course not.
Speaking of actual Egyptian practices, one must understand the effort behind ritual, and how that compares to ctrl+v-ing a crossed out name or putting slashes through it. Like if you were going to desecrate a name you'd make a pot, carve the name in, let it dry, smash it, etc. Or make sandals with the name embroidered on them. And note that the desecration would only come later on, it was meant to be desecrated in the future in such contexts, or over time. These are active ritual processes and I'd guess were often in response to something, not just out of habit or social signaling. One act is actual magic, the other is a lazy habit. And when those names were written there was no fear of them, or they would not have been written in the first place, even to be crossed out.
Continuing with historical Egypt, if the point of slashing-out “Apep” is to insult or attack the force, this completely misunderstands how names worked for our ancestors. The actual insult would be to not use the name at all, not even just its name (which again was not in English), but references to it, nicknames, etc., to not even think about it. But again this is not how Egypt saw Apep, they wrote about him, drew him, and SOMETIMES desecrated the name or image in rituals, which were significant events built on great effort, and not a simple keyboard habit. And it is precisely because Apep is weak that we can write about and depict him without fear.
This treatment of the name Apep misunderstands both what that force is, and how much power it has. For instance, as pointed out by my aforementioned peer, it makes us wary of an inaccurate name for the force, but not the force itself. To elaborate…

Finally, the very idea of non-existence, of a god or individual returning to a state of primordial chaos, is a complete impossibility. Self-existence, such as that of our own and the gods, is a simple, axiomatic fact. For there to even being Apep, there must also be non-Apep, and it can never be otherwise. The very statement “I do not exist” cannot even be argued or conceived. This means that any fear of Apep, even historically speaking, is misplaced, a lack of understanding about the nature of the soul, a superstition. And that's okay, knowledge grows over time, just like we now know retainer sacrifices were wrong, and mummification/materialism is not needed for life after death. Honestly, not allowing knowledge to evolve in such a way gives Apep more praise than writing its name ever could.

submitted by Wandering_Scarabs to Setianism [link] [comments]

2024.05.21 03:09 Wandering_Scarabs "Apep, Apep, Apep," - all together now!

The name for the force of primordial chaos we now call “Apep” is long lost. “Apep” is an English, best guess transliteration of the long dead hieroglyphic language. A language where we have literally no idea how it was supposed to sound. A language that was far more complex and spiritually charged than our joke of a language will ever be. So writing “Apep” or “Apophis” is not even close to invoking the force, unless you INTENTIONALLY go out of your way to invoke it. This is what matters, intention, which is why calling gods by their names in English still works out for us, we intend to invoke them, it is not the words or letters themselves.
As pointed out by a fellow practitioner (I will leave it to them to decide if they want to jump in), the very fear of the name is itself superstition rather than Kemeticism, indeed the latter had no fear of writing it, which they did often before destruction of the name in ritual. There is a serious superstitious fear in people that if they write the name and don’t cross it out, or write it at all, bad things will happen to them. It is the same paranoid, Christian-inspired, self-induced fear that we see with creeds like “harm ye none” when honestly the problem with Egypt was they were often quick to harm, or the fear that looking into anything outside of monotheism will lead to demon possession. This just is not how it worked, writing the name of a primordial force in a gross modern language is never going to have any impact on that force (nothing will, but more on that below). Further, I doubt this is ever seen through to its conclusion. For instance if you own any books on Egypt, the word Apep or other forms of it, maybe even the hieroglyphics, are already written in your home, oh no! Shall we cross out his name in all our books? Should we avoid websites that mention the name since we cannot desecrate it? Of course not.
Speaking of actual Egyptian practices, one must understand the effort behind ritual, and how that compares to ctrl+v-ing a crossed out name or putting slashes through it. Like if you were going to desecrate a name you'd make a pot, carve the name in, let it dry, smash it, etc. Or make sandals with the name embroidered on them. And note that the desecration would only come later on, it was meant to be desecrated in the future in such contexts, or over time. These are active ritual processes and I'd guess were often in response to something, not just out of habit or social signaling. One act is actual magic, the other is a lazy habit. And when those names were written there was no fear of them, or they would not have been written in the first place, even to be crossed out.
Continuing with historical Egypt, if the point of slashing-out “Apep” is to insult or attack the force, this completely misunderstands how names worked for our ancestors. The actual insult would be to not use the name at all, not even just its name (which again was not in English), but references to it, nicknames, etc., to not even think about it. But again this is not how Egypt saw Apep, they wrote about him, drew him, and SOMETIMES desecrated the name or image in rituals, which were significant events built on great effort, and not a simple keyboard habit. And it is precisely because Apep is weak that we can write about and depict him without fear.
This treatment of the name Apep misunderstands both what that force is, and how much power it has. For instance, as pointed out by my aforementioned peer, it makes us wary of an inaccurate name for the force, but not the force itself. To elaborate…

Finally, the very idea of non-existence, of a god or individual returning to a state of primordial chaos, is a complete impossibility. Self-existence, such as that of our own and the gods, is a simple, axiomatic fact. For there to even being Apep, there must also be non-Apep, and it can never be otherwise. The very statement “I do not exist” cannot even be argued or conceived. This means that any fear of Apep, even historically speaking, is misplaced, a lack of understanding about the nature of the soul, a superstition. And that's okay, knowledge grows over time, just like we now know retainer sacrifices were wrong, and mummification/materialism is not needed for life after death. Honestly, not allowing knowledge to evolve in such a way gives Apep more praise than writing its name ever could.

submitted by Wandering_Scarabs to EsotericOccult [link] [comments]

2024.05.21 03:08 Wandering_Scarabs "Apep, Apep, Apep," - all together now!

The name for the force of primordial chaos we now call “Apep” is long lost. “Apep” is an English, best guess transliteration of the long dead hieroglyphic language. A language where we have literally no idea how it was supposed to sound. A language that was far more complex and spiritually charged than our joke of a language will ever be. So writing “Apep” or “Apophis” is not even close to invoking the force, unless you INTENTIONALLY go out of your way to invoke it. This is what matters, intention, which is why calling gods by their names in English still works out for us, we intend to invoke them, it is not the words or letters themselves.
As pointed out by a fellow practitioner (I will leave it to them to decide if they want to jump in), the very fear of the name is itself superstition rather than Kemeticism, indeed the latter had no fear of writing it, which they did often before destruction of the name in ritual. There is a serious superstitious fear in people that if they write the name and don’t cross it out, or write it at all, bad things will happen to them. It is the same paranoid, Christian-inspired, self-induced fear that we see with creeds like “harm ye none” when honestly the problem with Egypt was they were often quick to harm, or the fear that looking into anything outside of monotheism will lead to demon possession. This just is not how it worked, writing the name of a primordial force in a gross modern language is never going to have any impact on that force (nothing will, but more on that below). Further, I doubt this is ever seen through to its conclusion. For instance if you own any books on Egypt, the word Apep or other forms of it, maybe even the hieroglyphics, are already written in your home, oh no! Shall we cross out his name in all our books? Should we avoid websites that mention the name since we cannot desecrate it? Of course not.
Speaking of actual Egyptian practices, one must understand the effort behind ritual, and how that compares to ctrl+v-ing a crossed out name or putting slashes through it. Like if you were going to desecrate a name you'd make a pot, carve the name in, let it dry, smash it, etc. Or make sandals with the name embroidered on them. And note that the desecration would only come later on, it was meant to be desecrated in the future in such contexts, or over time. These are active ritual processes and I'd guess were often in response to something, not just out of habit or social signaling. One act is actual magic, the other is a lazy habit. And when those names were written there was no fear of them, or they would not have been written in the first place, even to be crossed out.
Continuing with historical Egypt, if the point of slashing-out “Apep” is to insult or attack the force, this completely misunderstands how names worked for our ancestors. The actual insult would be to not use the name at all, not even just its name (which again was not in English), but references to it, nicknames, etc., to not even think about it. But again this is not how Egypt saw Apep, they wrote about him, drew him, and SOMETIMES desecrated the name or image in rituals, which were significant events built on great effort, and not a simple keyboard habit. And it is precisely because Apep is weak that we can write about and depict him without fear.
This treatment of the name Apep misunderstands both what that force is, and how much power it has. For instance, as pointed out by my aforementioned peer, it makes us wary of an inaccurate name for the force, but not the force itself. To elaborate…

Finally, the very idea of non-existence, of a god or individual returning to a state of primordial chaos, is a complete impossibility. Self-existence, such as that of our own and the gods, is a simple, axiomatic fact. For there to even being Apep, there must also be non-Apep, and it can never be otherwise. The very statement “I do not exist” cannot even be argued or conceived. This means that any fear of Apep, even historically speaking, is misplaced, a lack of understanding about the nature of the soul, a superstition. And that's okay, knowledge grows over time, just like we now know retainer sacrifices were wrong, and mummification/materialism is not needed for life after death. Honestly, not allowing knowledge to evolve in such a way gives Apep more praise than writing its name ever could.

submitted by Wandering_Scarabs to WanderingInDarkness [link] [comments]

2024.05.21 02:12 Tony-KGB Three Sister,"The Morrígan" Lore/story theory I've been researching. Need peoples input and thoughts.

"The Morrígan"

First off, I apologize if this has been thought of or posted before either in reddit or youtube. ( I have yet to find anyone talking about it"
This is just some food for thought as I've been heavy into Elden Ring lore lately. I really enjoy watching youtube videos about Elden ring lore and story. Love watching tarnished/ vaatti and others just to name a few.
I Love trying to tie in real life history or mythology and how it possibly inspired story decisions. It can possibly help us uncover story secrets before they are revealed.
This is going to be all over the place, because I don't have a ton of time to make a huge presentation but I'll try and give you the cliff the notes of what I uncovered and hopefully it inspires someone smarter than me to piece something together.
I first stumbled upon "The Morrigan" mythology when I was watching a Quelaag video and she mentioned how the deathbirds are keepers of the flame. It got me thinking about how in old roman pagan times there was a group of woman called the vestal virgins who were in charge of keeping romes sacred flame. So I googled what that flame in roman/pagan times represented. I somehow stumbled across Brigid or Brigit meaning 'exalted one who was a goddess of pre-Christian Ireland. She appears in Irish mythology as a member of the Tuatha Dé Danann, the daughter of the Dagda and wife of Bres, with whom she had a son named Ruadán. (From Wiki)
According to myth, the Tuatha de Danann resided in a mythical country described as the underworld.
They live in the Otherworld, which is described as either a parallel world or a heavenly land beyond the sea or under the earth's surface.^\1]) Many of them are associated with specific places in the landscape, especially the sídh mounds; the ancient burial mounds and passage tombs which are entrances to Otherworld realms.^\1])^\2]) The Tuath Dé can hide themselves with a féth fíada ('magic mist')^\2]) and appear to humans only when they wish to.^\1]) ^{( kinda like how Melina appears to us})
She has some crazy similarities to Marika, the flower that represents her is dandelion/sunflower that we see all over the lands, the animal that is most associated with her are lambs... found all over limgrave. Also was known as the goddess who could create trees or something like that. I won't bore you with all the things, but if your interested there are a lot of associations that can be tied to the goddess Brigid and the Elden ring story if you have time to research it.
I dove deeper in Wikipedia and clicked on the link for her father the Dagda. He is considered the great god of Irish mythology And things got a bit interesting here for me. He is often described as a large bearded man or giant. Again I need the help of you guys to try and tie these mythological gods to a possible connection to the Elden Ring characters. I have a few ideas for this guy.
The Dagda has several other names or epithets which reflect aspects of his character.
One being Eochaid

Eochu or Eochaid Ollathair ("horseman, great father" or "horseman, all-father

There is a sword in Elden ring called The Regalia of Eochaid, ( Treasured sword of Eochaid, a lesser, long-vanished domain )
I think the old man in the photo from the DLC trailer could be this Dagda character or possibly one of the Giant skeletons sitting on the throne in the under ground.
The Dagda has an affair with Boann, the goddess of the River Boyne. She lives at Brú na Bóinne with her husband Elcmar. The Dagda impregnates her after sending Elcmar away on a one-day errand. To hide the pregnancy from Elcmar, the Dagda casts a spell on him, making "the sun stand still" so he will not notice the passing of time. This kind of sounds similar to Rhadan holding the stars back? I have a feeling there was a secret child had out of wedlock of some kind that will be revealed in the DLC, possibly its messmer?
comparisons are starting to seem more than a coincidence.
I noticed on Wiki that one of the Consorts for the "Dagda" was someone named the Morrigan
Consort means - a wife, husband, or companion, in particular the spouse of a reigning monarch.
When reading up on the Morrigan, I was astonished and some of the things I found.
The Morrígan or Mórrígan, also known as Morrígu, is a figure from Irish mythology. The name is Mór-ríoghan in modern Irish before the spelling reform,^\1]) and it has been translated as "great queen" or "phantom queen".
he Morrígan is often described as a trio of individuals, all sisters, called "the three Morrígna".^\5])^\9])^\10]) In mythology membership of the triad is given as Badb, Macha, and the Morrigan, who may be named Anand).^\11]) It is believed that these were all names for the same goddess
The Morrígan is mainly associated with war and fate, especially with foretelling doom, death, or victory in battle. In this role she often appears as a crow, the badb.^\2]) She incites warriors to battle and can help bring about victory over their enemies. The Morrígan encourages warriors to do brave deeds, strikes fear into their enemies,
Doesn't the Badb sound like Melina?? she often appears as a crow, Melina has a crow tattoo on her eye. She Morrigan encourages warriors ( us the tarnished ) to do brave deeds?
Her role was to not only be a symbol of imminent death, but to also influence the outcome of war. Most often, she did this by appearing as a crow flying overhead, and would either inspire fear or courage in the hearts of the warriors. In some cases, she is written to have appeared in visions to those who are destined to die in battle
The Morrígan is described as the envious wife of The Dagda and a shape-shifting goddess
I'm not 100% sure of this obviously, but It sounds like Melina is one of three sisters who are a Triple Deity. Is the Morrigan the dusk eyed queen, marika and someone else? or are Melina / miquella and Melania all the same Goddess?
The more you look into this mythology, the inspiration is all plastered all over elden ring.

The Morrigan: Triple Goddess of Death by Anna Otto Contra is another great page I read up on this.

Known as a triple goddess, consisting of three distinct entities, She is often associated with death and is considered a guardian of the dead. As a shapeshifter, she possesses the ability to transform into various forms.
As a goddess of death, Morrigan is believed to have a close connection to the realm of the dead. She is sometimes seen as guiding and protecting the souls of deceased warriors(tarnished?), ensuring their safe passage to the Netherworld

The Three Sisters

In the legends of the Morrigan and her three sisters, Badb, Nemain, and Macha, a powerful trio emerges, each with different aspects of war, death, and transition.
Nemain, another sister, assumes the role of the comfort goddess in the transition of death (Fia or deathbed companion?)
This passage is even more insane... possible connections to Ranni or Mesmer?
Lunar circles and snake coils are also significant symbols associated with the Morrigan. The lunar circles represent the moon’s influence on the flow of life and death. This symbolizes her connection to the cycles of nature and the passage of time. The snake coils and triple snake spirals reflect her transformative abilities and the shedding of old skin to reveal new beginnings. They represent the cycle of rebirth and renewal, capturing the Morrigan’s association with both death and regeneration.
I know I'm all over the place with this, but I was hoping to inspire someone in the community to maybe make a more clear connection with this Irish Mythology and the story of Elden Ring and maybe uncover an unknown part of the story.
Again I apologize if this has already been covered somewhere, but every link I click on Wikipedia regarding this group has crazy inspirational connections with the Elden Ring Story.
If you had the patience and curiosity to read through my ramblings your a legend lol.
Please post your thoughts, ideas...

submitted by Tony-KGB to Eldenring [link] [comments]

2024.05.21 01:57 Sensitive-Hotel-9871 Injustice should have used Kingdom Come as the basis for its plot.

I recently read Kingdom Come. One of the things that came to mind is that Injustice should have used this comic as the basis for its story rather than the grimderp it gave us. Obvious spoilers if you haven't read the comic.
Kingdom Come is set in a possible future where the Joker kills Lois Lane. A violent antihero named Magog kills the Joker and is hailed by the public as a hero for his tougher stance on supervillains. Seeing the public praising a hero for being more brutal while dealing with the grief of Lois' death causes Superman to isolate himself from humanity. He doesn't find a healthy way to deal with his issues, so he doesn't come out of isolation.
That was until too many people were getting hurt because of how the new, more violent generation of superheroes was doing things. After that, Superman got together with his still-living allies from the Justice League to reign in the new generation.
Despite the build up to a confrontation with Magog, he doesn't put up much of a fight. As it turns out, Magog was a man who was trying to be a hero, and his popularity after he killed the Joker propelled him to a role as a symbol of heroism that he wasn't suited for. He regrets the innocent lives who died because of him, including the recent disaster that spread radiation across Kansas, so he doesn't offer any resistance.
While Superman and his allies were more concerned about people getting hurt in the crossfire, he was filling a powder keg by starting so many fights with an entire generation of metahumans that the world was worried about when the powder keg would explode, and they had an entire metahuman war on their hands.
Lex Luthor was happy to light the fire by arranging an "escape" for the metahumans Superman imprisoned so the fighting would allow for a pretext to kill them all with a nuclear bomb. Batman joins Luthor at first, but then it turns out he was pretending to be so he could get close enough to be the kibosh on the scheme before it did any real damage. Unfortunately, he isn't successful; the nuke is still fired, and people on both sides are killed.
Superman doesn't realize until after the bomb is dropped that he is still setting himself apart from humanity and trying to do everything without consulting ordinary people. After recovering from his grief, he realizes his mistake and rejoins human society with his surviving allies.
The basic story of the comic allows for a number of fights between superheroes; we get a fight between Batman and Wonder Woman as Batman tries in vain to de-escalate the conflict. I would still avoid the nonsense where established superheroes arbitrarily turn into killers. Instead, the various out-of-control metahumans could be characters who sometimes skirt the hero/villain line, like Black Adam and Sinestro, showing how bad things have gotten when they are accepted standards for superheroes. I would also add Manchester Black to the bad guy side.
In the comic, Luthor doesn't fight Superman; he is detained by Batman. However, since his machinations cause the events, I feel Luthor, using his warsuit, would make a suitable final boss.
For the sequel, the plot of Brainiac attacking Earth still works as a premise. Brainiac would be an established villain who has been beaten in the past, but with so many of Earth's defenders dead, there is doubt that Brainiac can be stopped this time, especially since he has collected an entourage of villains from other universes to form his own Legion of Doom.
What does everyone else think of this idea? Anything you'd like to add?

submitted by Sensitive-Hotel-9871 to CharacterRant [link] [comments]

2024.05.21 00:28 No-Improvement-3862 Point Omega/Week Three/Chapters 2 and 3/pages 49-100 [Picador edition]

Hey everyone, in this post I’ll be leading the discussion on chapters 2 and 3 of Point Omega. I also whittled this post down to half its original size to fit Reddit's 4,000 character cap, only to find that it's 40,000. So hopefully it's not too abridged!
Something that struck me as I read the book as a whole was its Baudrillardian ideas, and a quick Google showed that I’m not the only one. Elster claims that they made a reality overnight for the Iraq war, very much echoing The Gulf War Did Not Take Place, in which Baudrillard argues how wartime reality is constructed. There’s great discussion on reality-construction in the Bush administration on the previous post by SwampRaiderTTU which this can hopefully lend to. Baudrillard also used the term omega point himself in a way which thematically fits the book, and which I’m sure DeLillo read. I’ll be using a few Baudrillardian ideas going forward because I really think they had a big impact on the book, but please feel free to disagree.
Q: Have you noticed any other philosophical influences that stand out? And do you agree about Baudrillard’s singular influence on the novel, or do you think I’m taking it past its mileage?
Anyway, chapters 2 and 3. What marks these chapters apart from the others is the presence of Elster’s daughter, Jessie. This is how chapter 2 begins. At first, I thought she would represent a disruptive event like that of White Noise, but it seems that she’s something different. They are living in a space beyond the constructed reality of ‘News and Traffic’, and while in previous chapters Jim only had Elster from which to gauge his reality, he now also has the mysterious Jessie. She’s a strange person though, seeming outwardly inaccessible and distracted, as if absent, and yet becomes a key part of their lives out there.
She tells Jim that Elster hates to be alone there – though he claims that time expands in the desert, or even stops existing, being there strips away the constructed realities until all that remains is himself and death. DeLillo has a preoccupation with death and constructed realities, as apparent in White Noise, whereby media and modern mythology serve as a distraction from the inevitable end. He is rawdogging mortality when he’s out there alone, but some company helps to augment that reality.
Q: Do you think this is a fair reading?
There’s some ruminating on what makes the self in these chapters. Elster talks about his sense of self almost semiotically in one passage, on page 54, which I think can be used for a lot of the book. He says how his self is grounded in his habits that he’s harboured since childhood. Before continuing to say that he doesn’t see his academic work as representing him, Jim reflects on the content of Elster’s medication cabinet. I think this shows the different ways reality is constructed.
Q: Are there any other overt instances of semiotics in the novel? Or any importantly differing interpretations of things?
An instance of the hyperreal is Jessie and Jim discussing footsteps in old movies departing from the real on page 59, and another is soon after, on 63, where Elster has trouble deciding if he’s ever been to Iraq. This has a satirical edge, as do a lot of Elster’s detached musings on the war, but employs the hyperreal as, in a sense, he has occupied an Iraq. His was a cerebral Iraq. The others in the war rooms occupied an Iraq of maps, graphs and justifications. None of them have ever been to the “real” Iraq. Something you can maybe help me with is the significance of the big horned sheep. They are another present absence, but Jessie’s negative reaction to seeing them is confusing, though funny.
Q: How do you interpret these passages? Why big horned sheep in particular, or are they an arbitrary symbol?
The chapter ends with another cliffhanger: Jessie’s mysterious disappearance. Where before she was a distracted and half-imagined presence, she becomes more present in her absence. This presence/absence theme is strong throughout, which is excellently laid out here.
I've loved reading the book, and looking forward to discussing.

submitted by No-Improvement-3862 to DonDeLillo [link] [comments]

2024.05.20 21:24 CbVdD [Spoilers Episode 4] Gramps' Timestamps

Episodes and other media available on YouTube and Twitch

Episode 4: The Newly Dead

Last time you began in the aftermath of a landslide. After the chaos of the previous day, the mountain peak, the blight, the death of the Virtuous (all of which happened within a single day) you finally had a chance to rest and take stock of all that had occurred. I found a spot to camp. Dolly confessed ‘in all her travels what she experienced on Mt Atria was the first time she’d witnessed something that she couldn’t understand’.As the only members of the party not affected by the blight, I took Raidion aside to see whether they could offer the others any help. Raidion shrugged off this suggestion, telling I that ‘they were out of their depth and he was only staying with them because they were currently useful to him’. Around the fire, Endellion, Kelnys and Dolly spoke of what had brought them to the Web. Endellion revealing that she had wanted to escape a life she led before. Morgan suggested that (rather than escape) the Web merely offered a different kind of cage. After being pressed by Dolly, he (Morgan) disclosed that he had joined the Web to ensure that he was able to (in his words) “hurt the right people”. It was Kelnys’ turn to confide next that the Web had killed his family, but he also revealed that his family were not dragonborn. As the party began to rest, Raidion took Dolly aside and thanked her for the gift of the daisy chain bracelet. Taking her into his confidence, he revealed that he had been struggling to sleep, due to a whispering deck of cards that he carries in his pack. Dolly told him ‘that when things begin to call out, it is a sign that they possess great power and that power is hard to escape’. As the rest of the party settled down, Endellion and Morgan took first watch. Morgan beginning to scratch the symbols of Ignas from his armor. Endellion questioned him on his loss of faith and Morgan told her that ‘having lost so much already, the death of his god had hit him hard’. The pair challenged one another on the nature of faith, choice, and loss before they too finally got some sleep. The next morning you descended, made your way down to the foot of the mountain and to the Festival of Benediction. There you met Polyanna, a junior cleric supervising the construction of a stage. As she fussed and attempted to heal those of the party suffering from the blight, Endellion insisted that you be taken to Jasmee (the cleric that Barabask instructed you to seek out). Polyanna led you through the hubbub of the festival with its traders, musicians and worshippers until you found Jasmee offering instruction to a group of young religious students. Raidion immediately blurted out that the Virtuous were dead and Morgan handed her the letter that Barabask had written. Jasmee read that letter, her expression darkening. She asked if you had been sickened by the blight that now infected the mountain. When you confirmed that you had, she gathered guards and escorted you away from the festival. As the sounds of revelry faded into the distance, you entered a forest glade, far from prying eyes. There Jasmee rounded on you and with a whispered ‘I’m sorry’ cast Guiding Bolt on Endellion. She called to the guards that you had tried to kill the Antiqua and they, too, leapt into combat. As the fight began, Dolly appealed to Jasmee to stop her attacks, insisting the party had nothing to do with the deaths on the mountain. The cleric seemed in turmoil, stepping back and observing as Morgan roared a battle cry. Endellion added her appeals to Dolly’s with little effect. Raidion tried to use Hypnotic Gaze, as per, but Jasmee was angered by his attempts to deceive her with magic. At last Dolly’s words seemed to land and Jasmee threw her the letter which Barabask had written. After reading it, Dolly made one final plea for reason and the cleric at last commanded that the guards cease fighting. She cured Dolly, Endellion, Kelnys, and Morgan of the blight and told the party that she would report their deaths back to Barabask. With that she departed, leaving you alone in a forest glade.

Previous Episode: Oathbreaker

♪Episode Song References♪

ᕕ( ᐛ)ᕗ

00:22:10 Lil Jon & The East Side Boyz - Put Yo Hood Up
02:31:44 Evanescence - Bring Me to Life

Highlights

00:01:15 Ben recalls how their original plans of being the mature adult in the group has dissolved. “I think we’re all making bad choiced, if I’m honest.”
00:09:20 Morgan announces his departure and what he will report back to The Spinner.♪Episode Song References♪ ᕕ( ᐛ)ᕗ 00:22:10 Lil Jon & The East Side Boyz - Put Yo Hood Up 02:31:44 Evanescence - Bring Me to Life Highlights 00:01:15 Ben recalls how their original plans of being the mature adult in the group has dissolved. “I think we’re all making bad choiced, if I’m honest.”
00:09:20 Morgan announces his departure and what he will report back to The Spinner.

Raidion:“We are dead.” Morgan:“That makes you more useful to the Web.” Endellion:“Good luck, Oathbreaker.”

00:10:32 Ben:“It’s been a pleasure, Alan.”

Harry:“Goodbye, Oathbreaker. Send my regards to Mrs. Breaker.”

00:11:46 Kelnys:“It’s too bad we’re dead, I wanted to sell some spoons in that market.”
00:16:54 I:“It mights be caramel!”
00:17:17 Raidion and Endellion relenting to one hour at the festival
00:18:31 Ben makes funny sounds of disapproval upon the suggestion of entering without disguises.
00:21:30 Harry:“It is Dolly DeWinter, rather than Dolly DeSpring.” (roll for bad pun damage)
00:24:34 I:“When you is dead, calories don’t count!”
00:25:20 Fan Art Moment Popcorn gnome with golden goatee and purple hair.
00:26:18 Harry:“Just the four of you, then? Just the three of you, then? Just the two of you, then?” You can hear the hope die in his voice after each one.
00:29:17 PG:“Sometimes I catch sight of myself in a still pool over the edge of a blade and think ‘What are you like?’”

He just goes back to stirring his corn.

00:31:16 Harry:“Is there any part of Raidion that has enjoyed this?”

Ben:“Yeah.”

00:36:42 Doug:“Wait a minute! I have a skill called Spooncarving and I’ve got plus ten on that.”

shows Harry the skill on his sheet Harry:“God, they’re cheating! I didn’t know it was possible.”

00:38:24 Harry:“You know when you’re a kid and you get given Calpol and you’re like ‘Nothing’s better than this’?”
00:45:05 Raidion:(still attempting the serious parent voice, but relenting completely)“You have one more hour.”
00:48:36 Endellion spots someone who will recognize them at the festival and alerts the team.

Hollie:“I am necking the rest of this wine and it is (serious tone)‘We need to go’” Dolly:“So sorry everyone, but as you can see, our spoonshaper is done for the day…”

01:01:23 I marvels at the high chair and tray technology
01:05:39 Endellion just sits there sipping wine, looking like every character from Absolutely Fabulous.

Hollie:“Sweetie. Darling.”

01:11:35 Raidion attempts to bury the phantom deck of cards he’s been carrying.
01:24:47 With Kelnys guiding them through the woods, the group happen upon a campfire with a group exchanging celebratory remarks about the attack upon Alvelion.
01:26:36 I’s foot finds a stray twig, but doesn’t appear to reveal his presence.
01:27:20 The mysterious figure in a silver mask.

“Waiting. We wait until we hear otherwise.” “I can’t wait. Not knowing that there’s so many of them not knowing that they’re still in there.” “We have done our part for now. We wrote the message. That was what was required of us then. What is required of us now is to wait.” Curly:“I will bleed that council. Start with Trusk, real slow.”

01:31:12 Dolly rolls a 7 on a stealth check and is revealed
01:34:55 Dolly:“The web is wide.”

“Good for the web.”

01:45:25 INITIATIVE
01:47:17 Dolly falls unconscious
01:48:01 Alex:“Like Sean Bean.”
01:50:56 Ben:“It’s not intimidation, it’s just a stupid thing that Raidion would say.”
01:57:33 Dolly revived with a healing potion
02:13:16 I’s impressive stealth skill allows him to disappear in a puff of popcorn and a whiff of caramel.
02:17:55 Dolly’s back! And she’s pissed!
02:21:00 Raidion successfully takes out the silver-masked ranger with a chromatic orb.
02:23:31 Kelnys falls unconscious
02:25:04 “Butterkist boi”
02:33:22 “The shadow will flood.”
02:36:20 In a tandem effort with Raidion, I subdues the final enemy.
02:36:51 “The old Christopher Lee stabbed in the back story.”
02:38:20 I:“Who sends you?”

“Those who send us all.”

02:41:15 A note that reads:

“Camino, Write the message on the mural. Return to the forest and wait. The water will soon rise”.

02:45:35 Harry describes the city of Baruun like a three-tiered cake with a single great staircase dividing the round walls. There is a painted and carved mural of the Virtuous on the middle tier near the stairs.
02:47:47 Raidion expresses the desire to pose as the three dead spies and use the opportunity to investigate the plot.

I:“Oh, I likes this.” Dolly:“This could be an awful, awful plan. Obviously I’m up for it.” So, the five of you, under the canopy of the forest, with the fire still burning, sit. And wait.

submitted by CbVdD to naturalsix [link] [comments]

2024.05.20 19:43 Woodrp My Thoughts on Hit Me Hard And Soft

I know there are a ton of posts giving thoughts on the album, but I have some, I wrote them down, and here they are.
One cannot get a sense of this album from one or two listens. It’s got a lot of layers and needs time to be unpacked. I’d say the second half of this record is probably her best work. There are some weaker points in on side A, though. It’s cohesive and has great transitions from one song to the next. Overall, this record is better than Happier Than Ever, and is about as good as When We All Fall Asleep Where Do We Go. On perhaps my eighth listen through, this time on vinyl (black edition) with excellent headphones on a very good system, I took the following notes:

Skinny

Cool guitar riff on this song.
21 took a lifetime, lovely high note there.
great line about internet culture and how cruel we are to each other there.
Gorgeous strings at the end of this song are echoed in Blue.
Great, smooth transition into Lunch.

Lunch

Great bass line, and I love the way the guitar and full beat come in
Banger. Along the lines of NDA, Therefore I Am, Bad Guy
The sudden warble sound is so cool. Coolest part of the song. Distorted bass guitar comes in too, and it works so well. The breath ending reminds me of Bad Guy.

Chihiro

The chorus, beginning with Open up the door has a great, infectious rhythm.
Some incredible highs in the post-chorus

The keyboard riff that comes in ahead of the "I don’t' know you at all" belt keeps this song super interesting. Kinda has a Stranger Things feel to it.
"And that's when you found me". Bit of a tone shift here that is really cool and interesting. Love the line "When you told me it was serious, were you serious?"
As the song comes to a close there's a high pitched sound that adds so much drama to the song.

Birds of a Feather

First mention of the color blue here?
This song has this late eighties/early nineties pop song feel to it from the beat and the keyboards used to the vocal delivery.
There's a little keyboard riff near the end of the song that reminds me of MGMT. Perhaps an allusion to influences?
Second weakest song on the album, but still better than the bottom 8 songs off HTE.

Wildflower

Did I cross the line? Really great line there. Calls back to an early Billie Song, "you just crossed the line" in Copycat.
Weakest song on the album. Very slow, and really bogs the record down here near the middle. Again, though, better than the bottom 8 songs off HTE.

The Greatest

Fantastic little acoustic ukulele riff. The double tracking provides a nice stereo effect with headphones on.
Vocals are gorgeous.
This song's got a really great, slow build-up.
The pre-chorus before the second chorus has some neat instrumentation.
The second chorus, leading into the big distorted guitars and belting is phenomenal.
Love the strings and keys in there too. This is so much better mixed than the second half of Happier than Ever, where the guitar was too loud in the mix.
On vinyl, it feels like the very end of the song got cut off. I wonder if they could have moved this song to the other side.

L'amour De Ma Vie

I wish you the best for the rest of your life sounds so sarcastic in its delivery.
Great affects used on the guitar
Haven't we all had that partner at some point who tried to emotionally manipulating us into staying by making us feel like they won't survive without us? I love how she reminds us that this partner is likely to just move on right away after it's over. But first, they're going to make the breakup so hard.
I love her little "bum-bum-bum" as it leads into the beat.
The song turns into something else after "but you were not mine".
The way "and you moved on" moves into the second half of the song and the drums come in like a heartbeat is so cool. Again, an eighties feel to the keyboards. Great production on the vocals here. The way the echoes pan left and right is a great effect. The auto-tune actually sounds super cool here. Not something I usually endorse, but it's used to such great affect here. I love the belting of "it's over now".
The end of this song is the best single moment on the record for me. The distorted pulsing bass and the whispered/distorted vocals are so great together. Calls back to a moment from the HTE album, Oxytocin is the song I think, but so much better done here. It ends with me wanting more of it.

The Diner

Love the start of this song. Reminds me of like, Italy somehow.
Great production on the vocals. Again, the echoes are so good.
Great lyrics on this song. The bass is so good too.
Love how it builds and seems like it's going to keep going harder, then pauses for "so they would know that it was me" and pops into that bassy post-chorus.
"I go back to the diner", followed by this instrument going from high to low. Not sure what that instrument even is, but it's such a neat effect. This song is like nothing else I've heard before.

Bittersuite

Love the play on words for the title.
Such a dramatic beginning, and then it drops into this watery, pulsating beat. this is when FINNEAS is at his best.
I love the climbing bass part that shines through leading into the chorus, might be strummed with a pick. Second-best moment of the album for me right there.
Another song that sort of feels like two songs in a way. If I didn't have a track listing and lyrics for this record, I'm not entirely sure I'd know when songs are ending and beginning. Gives the album this interesting, cohesive feel. She's right that it needs to be heard all the way through.
Open up the door again. It's a common thread that appears in, I think, three songs on this record.
Love the transition into Blue, formerly True Blue.

Blue

The keyboards are phenomenal here. Again, though, a bit of an eighties, Stranger Things feel. This song does a great job of putting a bow on the album, calling elements back from the nine previous songs from lyrical elements "open up the door, I could say I'm over you, but that's not true, it's over now, I'm still overseas, in the back of my mind", etc to musical elements like the strings.
"I don't blame you, but I can't change you, don't hate you". These lyrics have a nostalgic feeling, like I've heard Billie say this before. But, I can't remember from where.

The sudden tone shift in this song keeps it super interesting and fresh. I thought that was FINNEAS singing that part at first, but according to an interview with the pair, it's a pitch shift on Billie's voice.

This song has an absolutely gorgeous resolution. It perfectly brings a sense of closure to the album. I love the finality of the last sung lyrics being "It's over now".

submitted by Woodrp to billieeilish [link] [comments]

2024.05.20 17:21 PliablePotato A full analysis of HIT ME HARD AND SOFT

This is by far my favorite album from Billie and is slowly becoming my favorite album of the year. I've been through the album many times now and want to share my interpretation of the entire work as I firmly believe it is intentionally cohesive and structured to have an overarching narrative.
Overall, this album is of course about a relationship Billie was in. I do think she wrote these songs about multiple different people but structured it to be cohesive. Each song throughout the album is a step along this journey and either is parallel to, or in direct reference of, the stages of the relationship and her feelings throughout. She leverages a number of metaphors and thematic imagery that's mentioned multiple times throughout the album
SKINNY
On its surface, SKINNY is about her fans, the public and the media and their lack of awareness of her actual mental state (ie they think skinny = happy) . In addition, I view this as her introducing the narrative. This is current Billie reflecting on the relationship and her experiences and setting up the story to "feed the hungry internet". She asks persistently "do you still cry?" knowing that she does herself, even after everything she did for this person and "not doing them wrong".
This song sets up 2 important thematic elements first is The Bird/Cage/Trap. While it varies from positive to negative, the theme is a sense of being trapped in the relationship, for better or for worse. It has a parallel theme to The door which i will discuss later.
The other theme is the String Motif, which is what ill call the melody and string orchestra that plays at the end of this song. In my opinion, this melody represents the relationship itself and is used 2 other times throughout the album for different purposes. This is personally my favorite thematic element as its beautiful and pays off mid-way through the album.
LUNCH
Lunch is fun, flirty and the explicit first step in the relationship. Its Billie and her love interest kicking things off intense and obviously full of passion. In the broader context of the album its the "honeymoon" phase, full of heightened emotions and fun. This may be a stretch, but i do find it fascinating putting a song called LUNCH after a song called SKINNY and i think its a metaphor for her relationship fulfillment and happiness at the time.
CHIHIRO
Personal favorite on the album. There is a ton of imagery and parallels to spirited away in this song of course. I think Genius and other lyric websites do a decent job of breaking those down but I'm going to focus on the context of the album.
CHIHIRO is Billie dealing with some of the likely obvious red flags she noticed immediately as things become more serious. Its Billie trying to reconcile the "fling" that's occurring and it being a potential serious relationship that she needs to emotionally invest in. She has reservations considering the lack of response or commitment from the other person and the theme of space/rest/freedom ("I need to be alone take a break", "cant cope with anymore") as opposed to Billie's lack of sleep / closeness / commitment ("waiting in the garden", "come back around" etc.) (which comes up a few times in the album).
However, Billie decides to commit to the person and ultimately trusting they'd "show [her] whats in store". This is also the song that introduces The door. This theme, I typically associate with the bird change / trap (which is also mentioned in this song). It represents opening up about their feelings, letting the feelings "out". and letting Billie in. Although she has committed, she is nervous about the possible issues that could arise if the door remains closed. This may be a stretch, but I do wonder if its associated with the both Billie and the other person feeling comfortable "coming out" in the sense of their sexuality as well though its not entirely clear.
BIRDS OF A FEATHER
Billie is now happy to "stay in the cage" with the person, calling back to the Bird/Cage/Trap theme. Birds of a feather sticking together. The lyric "I dont know why im crying" i think is referring to CHIHIRO, basically i dont know what I was so worried about this is great. Simultaneously though she still feels an uneasiness about the whole thing. Billie is willing to spend her whole life (till the day she dies) with this person (or in other words the love of her life).... so she says. She also mentions "If im turning blue dont save me" which is a theme thats picked back up in the back half of the album.
Despite the rose colored glasses, Billie starts to sense the cracks in the 2nd verse. "Say you dont see it....Say you wanna quit". Billie is fully invested emotionally and is giving everything she's got to try to make this work. She hopes tjat the other persons lack of commitment is "a bit" or them "being stupid". Despite this, Billie is in love and thats all that matters. Shes willing to look past this, for now anyways.
When i first heard this song i kinda thought it was a bit too "cliche" for Billie. However, in this context it feels like shes grasping at straws, trying to find the good, looking past the issues and saying shes in love to cope with the issues shes starting to realize. It makes future songs like L'AMOUR DE MA VIE hit harder since its basically confirms her feelings in this song were a lie.
WILDFLOWER
This takes a bit of a detour in my opinion. I think this is more about a previous relationship (though thats of course speculative). I dont want to discuss real people because i dont think it matters. This is a song about her supporting a women through a break up and ultimately dating her ex and the guilt / issues that come along with that. I think narratively, shes looking back on other issues in her past relationships, mistakes she made and ultimately her not speaking up when her feelings were hurt. I have a theory that the women she is supporting is someone she also has a relationship with (ie she ended up dating both of them which makes these lyrics hit even harder) but thats just speculative.
THE GREATEST
This is a pivot point on the album. Its when Billie "snaps out of it" so to speak and realizes how much she is putting in, but how little she is getting out. She expresses this in many different ways, begging for passion and waiting for something to change. Right off the top Billie mentions again the rest / staying up all night theme of her committing while her partner is allowed space / comfort / coming and going. While it was a simple worry in CHIHIRO, it is now officially a problem, weighing on her. "Man am i the greatest" is notably sarcastic but also has some truth to it. Its a reflection of regret/shame in terms of just how much time and energy she's put in despite getting nothing ("doing whats best without a reward" "All my love and patience", "...time I waited" etc etc). While not explicitly stated, this is making reference to the Open Door / Trap theme. They never let Billie in / let their emotions out and Billie ended up feeling alone because of it.
This song ends with The String Motif, the same one played at the end of SKINNY. However, this time she is belting it "I loved you, and I still do...Just wanted passion/what i gave you". While its related to the other lyrics, I feel this as "current" Billie screaming through, telling the story that connects us back to SKINNY (and hint hint ultimately to BLUE). This moment is so powerful because it symbolizes her change in perspective but just how much it still weighs on her and upsets her. Its a very important moment in this relationship/album and how she cope's / deals with it. Its probably my favorite moment on the whole album.
L'AMOUR DE MA VIE
I feel like this song is YIN to BIRDS OF A FEATHERs YANG. Basically, she admits that all these feelings were bullshit because she knew there were problems from the beginning. Shes over all of the excuses the person was giving for not committing, opening up etc. They said they "cared" a lot and would be destroyed if she left but they moved on right away. I think its a little over the top like BIRDS OF A FEATHER was but in the opposite direction. She's coping with the hardship she faced and described in THE GREATEST. The back half of this song I just think is her anger coming out about how little time it took for the person to move on, she flings dissses (you were so mediocre) and proclaims, "Its over now". Its a fiery clap back against the person.
THE DINER
Obviously on its surface this is about her stalkers and how conniving it is however i do think its connected to the narrative. She mentions trying to save the person which is a theme thats brought up previously and finalized again later. The way i interpreted this song in the narrative is that this is her obsessing over the relationship the other person moved onto in L'AMOUR DE MA VIE. Shes stalking them trying to figure out what she was missing and how she couldve made it work. Obsessing over the possibilities.
BITTERSUITE
This is Billie desperately trying to forget and move on but her unconcious and dreams wont allow her to. This is a reflection on many dream sequences Billie has about the relationship. Shes not over it, shes on tour overseas now but is still obsessed with the relationship (its "underneath all of her beliefs"). She has dreams that she is now desired by the person (the thing that she desperately wanted in THE GREATEST). She admits she hasnt been able to fill the void left since they broke up. She also brings up the theme of not sleeping (despite the dreams). At the end of this song she also brings references back to L'amour dema vie" and "Open up the door for me". Shes dreaming and hoping and fantasizing about how it was, what it could have been and what she wanted. By the end of it she seems to be getting what she wanted... but its unfortunately just a dream. Of course, this transitions into BLUE with the same melody at the end.
BLUE
Blue closes things off and explicitly connects all of the major themes in the album. She makes direct references to several other songs "Birds of a feather", told you a lie desole (L'amour dema vie), dont know whats in store / open the door (CHIHIRO), in the back of my mind (WILDFLOWER) im still over seas (BITTERSUITE), a bird in a cage (SKINNY). This is her reflecting, accepting and trying to get over it but having difficulty.
The transition in the music and ultimately the lyrics is to her gaining understanding and acceptance for the other person. She's able to cope with the relationship falling apart because of what the other person went through. This provides a different meaning to BLUE. While at first it was her being sad, now its her now ex-partner growing up BLUE (likely not accepted by her parents or a difficult childhood). Billie proclaims "i dont blame you, but i cant change you, dont hate, but we cant save you). This is a form of acceptance but also a reference to the theme of saving the person, though now its acceptance instead of an attack / blame. "Too afraid to step outside" is in reference to the cage, the trap or stepping through the open door. Billie realizes she also was afraid and could have done more, especially with how much the issues kept her up leading to little change and little sleep.
Finally, the final String motif playing the same melody as in SKINNY and THE GREATEST, this wraps the entire album sonically and thematically. It showcases the acceptance but the weight it still has and ultimately the impact this relationship had on her.
Overall a beautiful album about the stages of a relationship and the reflecting one does to learn, overcome and find comfort in grief. Its incredibly well done.
Im probably missing some stuff but this is what i took away from it. Love to hear any other thoughts or perspectives!

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2024.05.20 13:12 MirkWorks Excerpts from Beautiful Fighting Girls by Saito Tamaki (Chapter 6 The Emergence of the Phallic Girls) I

6 THE EMERGENCE OF THE PHALLIC GIRLS
The Unique Space of Their Emergence
….
The Atemporality of Manga and Anime
Every form of visual media functions according to its own temporality. In the case of popular culture most of these temporalities are a matter of movements.
All forms of visual expression are marked by a form of movement particular to their medium. Manga, anime, and film each have their own “grammar” of movement. Lining up photographs of real people like frames in a manga, for example, would not produce the same effects as a manga. On the contrary, it would lack reality (riariti), and the only effect it could produce would be of kitsch. This is because the kind of movement specific to the photographic medium clashes with the manga form.
These techniques for expressing movement include everything from the macro-level of speed lines in manga. Used effectively, they produce the effect of realistic movement. Reality (riariti) in anime is produced not by naturalistic backgrounds or by imitating cinematic techniques but only by realizing the kind of movement that is unique to anime. Under these conditions even a character drawn with a single line can seem just as real or even more real than a person in a photograph or a film. Now let us consider the question of temporality in manga and anime while paying attention to how they express movement.
A comparison of the work of Ishinomori Shotaro and Nagai Go is useful in thinking about temporality in manga. Ishinomori and Nagai use very different methods for representing time. Simply put, one uses “cinematic time” and the other “gekiga time.”
As Kato Mikiro has also argued, Ishinomori’s work brought the representation of time in manga to an extremely sophisticated level. His techniques were then adopted as a kind of grammar unique to manga and eventually rendered even more sophisticated in the hands of artists like Otomo Katsuhiro. One can certainly see the influence of film in these techniques (Ishinomori himself was also a great fan of Western films). Even more than someone like Tezuka Osamu, Ishinomori intended his manga to be like films. In contrast to this, Nagai’s techniques are more specific to manga, almost as if he were taking a position against cinema. Because this point is very closely related to the emergence of the beautiful fighting girls, let us look into it in greater detail.
In Ishinomori’s work, time “flows,” as it were, at the mostly consistent speed. It is his well-known techniques for describing intervals in dialogue - for example, the kind of time produced by the contrast between the dialogue within speech bubbles and the handwritten dialogue outside the speech bubbles - that maintain the objectivity or intersubjectivity of time in Ishinomori’s works. It is a more chronological, measured time that flows straight and even, without slowing or faltering.
In Nagai’s work, on the other hand, time no longer flows. It contracts and expands along with the reader’s subjective viewpoint. Action-packed, high-impact moments are drawn with large frames and take up many pages. This way of representing time, hardly used by Ishinomori at all, has become the trademark of Japanese manga in general. Ishinomori’s Masked Rider (Kamen raidaa) and other works in the squadron genre have been more often adapted as live-action dramas than as anime. This is in stark contrast to Nagai’s works, which have almost always been adapted as anime. There are no doubt reasons internal to the industry for this, but that does not explain everything. It seems clear that Nagai’s work itself has a greater affinity for being adapted as anime. And one of the things that anime have adopted from manga is the kind of atemporality represented in Nagai’s work.
In an earlier essay I was critical of this sort of atemporality in the work of Miyazaki Hayao. Here, I would like to return to that earlier essay to reconsider the atemporality of manga and anime.
As Miyazaki himself points out, anime starts out as the stepchild of manga. Anime often borrow techniques directly from manga. The best known example of this is the use of so-called manpu (Takekuma Kentaro) but the atemporality of anime is also derived from manga. Miyazaki compares anime’s atemporality to a traditional Japanese form of storytelling known as kodan storytelling, in which time and space are grossly distorted and exaggerated according to the passion and expressivity of the characters. The kodan “Kan’ei sanbajutsu” (Horse riding in the Kan’ei era), for example, is a long and extremely detailed description of how Magaki Heikuro climbs up a stone staircase on a horse. This kind of unlimited extension of a single privileged moment is typical of the atemporality of kodan storytelling, and Miyazaki is extremely critical of it.
One sees this kind of temporality most often in gekiga comics like those of Kajiwara Ikki. The most extreme example is perhaps Nakajima Norihiro’s Astro kyu dan (Asutoro kyu dan), the climaz of which is a single baseball match between the Astros and the Victories, the description of which took three years in serialization and more than two thousand pages. Astro kyu dan was a groundbreaking work, but it was neither minor nor avant-garde. It was published in Shonen jampu (Jump), a leading manga magazine, and, with the exception of a few raised eyebrows here and there, readers had no trouble accepting it.
The media space of manga and anime clearly tends toward atemporality. Manga about sports inevitably favor these descriptive techniques. The time between the moment the ball leaves the pitcher’s hand to the time it is swallowed up in the catcher’s mitt, the moment when a long-distance runner speeds up just before the finish line, the time of a round of boxing: all of these extremely short periods of time are extended and rendered in elaborate detail. The impact of a particular scene is heightened in direct proportion to the time spend describing it and the density of the narrative. Such techniques have been used most effectively in manga and anime. There is nothing in films or even novels capable of rendering this sense of atemporality quite as naturally. This point may have to do with the particularity of “Japanese space” that I discuss later.
Of course, the imaginaire, the realm of the imagination and fantasy, is atemporal to begin with. Dead people, for example, do not age in this realm. This is very different however, from Sigmund Freud’s notion of the atemporality of the unconscious. The unconscious is atemporal by its very nature, while the Imaginary can accurately be said only to strive for atemporality. In the imagination there is often a striving toward unlimited experience, which leads to a frantic gathering together of privileged moments.

In an essay on schizophrenia, the psychiatrist Nakai Hisao writes about the distinction between chronological and kairological time. Chronological time, named after Chronos, the Greek god of time and the father of Zeus, refers to physical time that we can measure on the clock. Kairos, on the other hand, is the Greek word for “opportune moment” and refers to time as human beings actually experience it. When we feel as if a boring lecture will go on forever or the time spent with a lover is over in a millisecond, it is because we are experiencing the time of kairos. Nakai writers that at a certain point in the progress of schizophrenia, patients experience “the collapse of kairological time and the maintenance of chronological time.” If this is possible, then there is no reason to think that the opposite might not also happen. Chronological time might recede, and the individual might leap headfirst into kairological time. In borderline cases and hysterics, for example, kairological time is clearly dominant. The time experienced by these individuals is often marked by the “here and now” of narcissism.
There are several other ways in which anime and manga strive for atemporality, or the suppression of chronological time. Characters like Sazae-san and Doraemon never grow old, and their stories unfold cyclically , always in the same setting. The technique of the tournament form that anime borrowed from manga magazines like Shonen jampu is another example of an atemporal form, like an infinite musical scale. The way the ranks of the enemy grows infinitely stronger is nothing if not a technique for introducing cyclical atemporality even as it disguises the passage time. In anime there is also the issue of the voice actor. What does it mean that the voice actor seems ageless and immortal? Often we have no idea how old they are in reality, and they may play the same boy roles for years on end. They must be immortal as well: When Yamada Yasuo, who did the voice of Lupin, died, the role was taken over by a virtual vocal clone of Yamada’s named Kurita Kan’ichi.
<…>
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part I)
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part II)
Becoming an Artwork by Boris Groys (Chapter 7)
<…>
American comics are fundamentally loyal to the techniques of cinema . In other words, they use chronological time in every respect. The flow of time from frame to frame is always even, and emotional prolongation and exaggeration is minimized. The characters’ subjective viewpoints are rendered through their monologues, and they do not demand readerly identification any more than necessary. In Japanese manga, on the other hand, particularly since kairological time was introduced by Tezuka, there has been a proliferation of techniques for rendering brief moments with high density and a very light touch. As these techniques were developed and further refined, they forced readers to identify with the characters even as they made it possible for them to read at a very fast pace. There is nothing else like this in the history of representational culture. It is very different from the way short time periods are presented in long novels such as the four days of the Brothers Karamazov or the single day of Joyce’s Ulysses. The high temporal density of these literary works derives from their indexical and polyphonic narrative structures. What they lack, moreover, is speed. The paradoxical combination of high-density and high-speed forms of expression is the unique quality of the media space of manga and anime.
The atemporality of manga derives from the screen effect whereby something looks as if it were stopped because it is moving so fast. Atemporality is not the only effect made possible by this copious description of instantaneous moments. I have pointed out that it also makes speed-reading possible. What does the copious description of instantaneous moments have to do with speed-reading? Here it would be useful to explain one of the most conspicuous codes that characterizes manga and anime.
Synchronic Space in Unison
Manga has its own very particular set of codes. As is well known, manga have multiple means for communicating these codes, both visual and verbal, as well as various supplemental onomatopoetic and mimetic expressions. Its methods of visual expression are far from simple. The background may be drawn in great detail, but the characters must be drawn using symbolic abbreviations. This is necessary to maintain visual continuity for the same characters from frame to frame. The characters’ emotions must also be expressed symbolically. This is the function of so-called manpu. Movement is expressed symbolically using various kinds of “speed lines.” I use the word “symbolic” here to indicate that these expressions directly transmit meanings as simple codes, leaving almost no room for multiple interpretations.
A frame from a manga chosen at random illustrates what I mean in greater detail. It is easy to see that multiple code systems coexist within even a single frame. We may begin by reading the text, but the shape of the bubbles that envelop the text are also expressive of emotions and situations. The manga as a whole consists of a very long list of codes, including the facial expressions of the characters, manpu, onomatopoetic and mimetic expressions, and speed and concentration lines. In manga it is almost impossible for a given mark, ln the paper not to carry any meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. When we stop and think about it, it is quite surprising that we have read such huge quantities of manga without ever being conscious of all of these codes . How is it that a system of codes of this complexity has come to be shared as a common grammar so unconsciously - and accurately? Answering that question alone would make for a fascinating history of representational culture. But for now let us leave that aside and move on.
Some readers may be wondering whether there is really anything unique here about manga and anime. Don’t film and theater have their own complex systems of codes? What is unique about manga and anime is not the layering of codes on top of one another, or even the number of codes in use. What is important is that in manga and anime these codes do not create a polyphonic effect. Instead, they work in unison.
What do I mean by this? Even though multiple layers of codes operate in a manga or an anime, they express the same meaning, or the same emotion. Multiple code systems are synchronized to convey the meaning of a single situation. The more precise and rhythmic this synchronization is, the more rapidly we end up reading them. Speed-reading is an effect of this unison of codes, but at the same time the codes are brought into greater synchronicity by being read quickly.
One more crucial factor is that each of these codes that we have been discussing is highly incomplete on its own. No single manga code can convey meaning by itself. The text of the images alone do not relay sufficient meaning to be read in isolation. This means that all of the code systems must supplement each other. It is only this mutual supplementation that makes possible the synchronization and the unisonic effect of the whole.
For this reason the space of manga functions a representational space that is both excessively overdetermined in meaning and highly redundant. A related phenomenon is the rapid spread of those unsightly so-called telops that have become so irritatingly common on television programs in recent years. The words of the performers on variety shows are repeated for emphasis using subtitles, to which are added (in all likelihood synthesized) recordings of the laughter of the crew. Here also, you have multiple codes working in unison to ensure that the viewer was no way to react but to laugh. Some have pointed to this as an example of television becoming like manga. But I am more interested in considering what it is about our culture that makes us so found of these redundant and exaggerated forms of expression.
According to Frederik Schodt, who has also written about Japanese manga, the Japanese preference for combining visual with verbal expression has its roots in the kibyoshi picture books of the Edo period. Schodt’s thesis will of course require careful study before we can be certain. But at the present moment it does seem to be the case that Japan is the only country in which the fundamental grammar of popular culture can be described as the copious expression of multiple codes in unison. It is not that there are no examples of this in other countries, but nowhere else has it attained the widespread popularity and sophistication that it has in Japan.
This distinctive medium, which becomes meaningless when the codes are separated out and excessively meaningful when they are synchronized, brings to mind something else as well. It is very similar to how the Japanese language itself uses phonetic kana along with Chinese characters. As the anime director Takahata Isao has argued, anime and the Japanese language stand in a very intimate relation to one another. Takahata’s point is the anime is the Japanese language. Of course, there have been claims like this before, such as the one that suggests that manga resemble Japanese calligraphy. Misconceptions about kanji, particularly the idea that they are ideographic, and fascination with the refined look of the characters led even Jacques Lacan into thoughtless remarked that “the Japanese cannot be psychoanalyzed.” [*12. Jacques Lacan, “Avis au lecteur Japonais,” in Le seminaire de Jacques Lacan, ed. J. A. Miller, vol. 11 (Paris: Editions du Seuil), 497-500.] If we accept the distinction between the Symbolic and the Imaginary, we have to recognize that this is wrong. If there is something unique about kanji, it is not that they are closer to symbols than to letter. It is entirely possible to be attached to the visual appearance of writing, to treat it like a fetish, whether it be kanji or alphabetic letters. For the same reason we should avoid facile conflations of the imaginary function of anime and manga with the symbolic one of the Japanese writing system.
My sense is that the uniqueness of the two-pronged kanji/kana writing system employed in Japanese has less to do with its visual qualities than with the fact that reading it is a highly context-dependent process . And it is this fact that helps regulate the emergence of symbolic effects into the Imaginary. What we can say at this point for sure is that neither a Chinese character nor a phonetic reading on its own is sufficient to denote meaning. And it goes without saying that it is only with the addition, in synchronic unison, of katakana and roman letters that the full meaning can be gleaned. It is probably not a coincidence that the code systems of anime and manga work in a similar way.
The ease with which we enter into the world of a manga and the extraordinary speed at which we are able to consume them suggest that we may “read” them in the same way that we read Japanese writing. If this is indeed the case, we might make a further hypothesis about the Japanese writing system. We cannot claim that Japanese writing somehow blurs the boundaries between the Imaginary and the Symbolic. We can argue, however, that it provides us with a sophisticated mechanism for processing imaginary objects using symbolic operational forms.
This hypothesis helps explain a number of stranger phenomena. The first of these is that drawing ability is not the most important factor in assessing Japanese manga artists and anime directors. In fact we are strangely forgiving of their technical skills in drawing. The ability to draw certainly doesn’t hurt, but it is merely an added value. There are any number of Japanese artists who are considered “greats” but whose drawing ability is inexpert when judged by the standards of the West. Even Otomo Katsuhiro, for example, is not valued in the West for his ability to draw. Instead, his international reputation rests on his ability to tell a good story. This tendency to downplay drawing ability is also reflected in the fact that almost all critical writing on manga and anime to date focuses exclusively on narrative and character analysis.
It seems likely that we Japanese inhabit a cultural sphere that has experienced a rather distinctive development of technologies for the symbolic processing of imaginary things. This hypothesis has implications that are not limited to the theory of manga and anime. But because those implications would take us far beyond the scope of this book, we leave them for later and return to the main argument, bearing this hypothesis in mind.
The Space of Multiple Personalities
It should be possible to further expand on and generalize from these notions of the multilayered codes in manga and anime and the way they function in unison. It should be possible, for example, to think of a character in a manga as a kind of code. In my understanding, manga works have a structure that resembles a patient with multiple personalities. The better the work, the more occasions it provides for the multiplication of these personalities. To put it differently, the more perfect the manga, the more completely it succeeds in integrating the totality of its character into a single mutually supplementing system of partly personified characters.
In clinical practice it is well known that the separate personalities of patients with multiple personality disorder are highly incomplete in themselves. It is not uncommon for these individual personalities to be simple types whose entire nature can be expressed with a single phrase. In this sense it might be more appropriate to refer to them not as “personalities” but as individual “specs” (functions). This sort of incompleteness applies to many manga works as well.
It should be clear that what I am opposing to this space of multiple personalities is Mikhail Bakhtin’s notion of polyphony. Here is Bakhtin on the space of polyphony:

A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices is in fact the chief characteristic of Dostoevsky’s novels….a plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event…not only objects of authorial discourse but also subjects of their own directly signifying discourse…. The consciousness of a character is given as someone else’s consciousness, another consciousness, yet at the same time it is not turned into an object, is not closed, does not become a simple object of the author’s consciousness. In this sense the image of a character in Dostoevsky is not the usual objectified image of a hero in the traditional novel….He created a fundamentally new novelistic genre.

The space of manga and anime has virtually nothing to do with these characteristics. In fact that space is more like an even more extreme version of what Bakhtin describes as having come before Dostoevsky. In other words, manga and anime give us “a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness,” in which “a character’s discourse [can] be exhausted by the usual pragmatic functions of characterization and plot development” and made to “serve as a vehicle for the author’s own ideological position.”
It is a fact that is often misunderstood, but like many other subcultural productions, the degree of freedom of expression in manga genre is extremely low. Compared with the novel, the formal characteristics and the range of narratives and narrative perspectives in manga are much more tightly circumscribed. What manga have instead is a much greater diversity of styles than the novel. This is also typical of most subcultural forms. To put it in semiotic terms, manga are impoverished on the syntagmatic axis (i.e., the horizontal structure) but extremely rich on the paradigmatic axis (i.e., the vertical branch).
For this reason it is not possible for manga to convey narratives above a certain level of complexity. The personalities of characters in manga have to be simple enough to be understood at a glance. If complex personalities cannot be described, complex narratives are not possible. In manga, therefore, the individual personalities of characters are inevitably types. If many manga contain only characters that belong to identifiable types, this is because the characters have to be arranged according to a code in which each one of them carries a single meaning. But this is no reason to complain about the lack of complexity and depth in manga characterization. In manga, a single personality is often divided among multiple characters. In other words, an entire manga work in its entirety is the coordinated expression of a single personality - of, for example, the personality of the author.
If it seems like I am belittling manga and anime by making this argument, this is not my intention. But just to be sure, let me make my defense of them explicit. The characteristics of manga that I have described above are weaknesses in terms of their capacity for literary expression. But do we not live in a time when the authority of the literary has been considerably weakened and the exponents of so-called high culture are being banished to an ever-shrinking territory?
If the weaknesses of subcultural forms like manga fall under the category of what I have just described as the syntagmatic, their strength lies in their paradigmatic diversity. One example would be popular music, where a diversity of sounds and arrangements are applied to simple structures, making for virtually infinite repetition and renewal. These days, techniques like sampling and remixing are not limited to music. We can all remember quite clearly how refreshing and powerful we found the anime series Neon Genesis Evangelion (Shin seiki Evangerion), which was produced almost entirely using these technical refinements. Subcultural forms will surely continue to seduce and bewitch us with their uncompromising superficiality. They may not be able to portray “complex personalities,” but they certainly do produce “fascinating types.” The beautiful fighting girl, of course, is none other than one of those types. That she can only survive in a subcultural habitat is due to the reasons given above.
[To be continued]

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2024.05.20 07:51 GhoulGriin Best Chanel Chance Perfume

https://preview.redd.it/xrk6yw9usi1d1.jpg?width=720&format=pjpg&auto=webp&s=86300f7d1584dfdfe20e33e55abb214a3b811757
Finding the perfect scent can be a journey, but one collection that consistently delivers is the Chanel Chance Perfume line. In this roundup, we'll explore the various Chance fragrances, along with their distinct notes and profiles. Whether you're a fan of chic, timeless Chanel or just looking for a new olfactory adventure, you'll find everything you need to know here. So sit back, relax, and let us guide you through the world of Chanel Chance.

The Top 8 Best Chanel Chance Perfume

Delicate and Vivacious: Chance Eau Fraiche Eau de Parfum - Experience the vibrant and intensely fresh Chanel Chance Eau Fraiche Eau de Parfum Spray with top notes of Citron and Aldehydes, a captivating heart of Jasmine, and a rich, woody base of Teak Wood and Amber.
Chanel Chance Eau de Toilette 1.2 oz: Refreshing Floral Fragrance for Women - Discover the Chance Eau de Toilette by Chanel, a captivating floral fragrance with uplifting citrus notes and a long-lasting scent, perfect for making lasting impressions and gifting loved ones for special occasions.
CHanel Chance Eau Tendre Travel Set - Experience the delicate and radiant charm of Chanel's Chance Eau Tendre Eau de Toilette travel set, complete with a full-size bottle and refillable twist-and-spray atomizer, perfect for on-the-go scent indulgence.
Chanel Chance Hair Perfume Mist, Exquisite EDP for Hair - Chanel Chance Hair Mist: Experience the enchanting scent of jasmine, pink pepper, patchouli, and vanilla in a luxurious hair fragrance that lasts up to 6 hours, blending floral notes with warm undertones for the perfect balance of sweet and spicy.
Chanel Chance Eau Tendre Hair Mist - 35ml - Floral-Fruity Scent for Women - Discover the delicate Chanel Chance Eau Tendre Hair Mist, enveloping your locks in a soothing scent of grapefruit, jasmine, and white musk, while nurturing and preventing unwanted odors with its alcohol-free formula.
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Chanel Chance Eau Tendre Eau de Parfum Set for Classic Everyday Scents - Experience the magic of the Chanel Chance Eau Tendre Eau de Parfum with this full-size and travel-sized set, boasting a pleasant and long-lasting scent, perfect for a radiant, feminine aroma anytime, anywhere.
Chanel Chance Fragrance Duo Travel Set - Discover the delightful Chanel Chance Eau Tendre set, combining a burst of tender floral-fruity notes with the invigorating Eau Fraîche, perfect for a refreshing, on-the-go experience.

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Reviews

🔗Delicate and Vivacious: Chance Eau Fraiche Eau de Parfum

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I was initially skeptical about the Chanel Chance Eau Fraiche Eau de Parfum Spray, but after using it for a few weeks, I've become quite a fan. The fragrance is a perfect blend of citrusy freshness and floral sweetness, with a touch of woodiness that adds depth and warmth. It's a scent that's both invigorating and comforting, making it perfect for any occasion.
One thing that really stood out to me was the longevity of the fragrance. Even after a long day, I could still catch a whiff of the lovely scent, which made me feel confident and put-together. Additionally, the packaging is elegant and sophisticated, just like the perfume itself.
The one downside that I noticed was the price. While the quality of the product is undeniable, it's definitely on the pricier side. However, I believe it's worth the investment if you're looking for a high-quality, luxurious fragrance that will last all day.
Overall, I would highly recommend the Chanel Chance Eau Fraiche Eau de Parfum Spray to anyone looking for a fresh, floral, and sensual scent. While it may not be for everyone, it's definitely worth a try!

🔗Chanel Chance Eau de Toilette 1.2 oz: Refreshing Floral Fragrance for Women

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Well, where do I begin? I've been using the Chanel Chance Eau de Toilette for some time now and it's safe to say it has become a staple in my daily routine. The first time I spritzed this on, I was instantly drawn to its refreshing floral bouquet. The mix of citrus notes with a hint of vanilla and white musk creates a lovely aroma that's both energetic and soothing at the same time. I can't help but feel refreshed every time I use it, like I'm starting my day on a positive note.
One of my favorite features about this perfume is its versatility. It's not too overpowering but also doesn't disappear after just a few hours. I find myself getting compliments on how I smell whenever I wear this, which always brings a smile to my face. The elegance of the bottle also adds to its appeal, making it a perfect gift for someone special.
However, there are a couple of things that could be improved upon. On some occasions, I've noticed that the scent can become a bit heavier and might not appeal to everyone's preference. Additionally, some users have found the price to be on the higher side, which might discourage others from giving it a try.
All in all, if you're looking for a timeless and elegant fragrance, I would highly recommend giving the Chanel Chance Eau de Toilette a shot. It has certainly lived up to its reputation in my experience, and I believe it would make anyone's day feel just a little bit brighter.

🔗CHanel Chance Eau Tendre Travel Set

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I was excited to give CHANEL's Chance Eau Tendre eau de toilette a try after hearing good things about it. The first thing that impressed me was the packaging. It came in a beautiful box that perfectly encapsulated the elegance I associated with the brand.
The scent itself is a delightful mix of fresh and fruity notes. It's mostly dominated by grapefruit and quince, with hints of jasmine and white musk in the background. I found it to be very pleasant – light enough for daily use but also unique enough to stand out from other fragrances I've tried.
One feature that stood out to me was the twist-and-spray atomizer. It made applying the perfume super easy and convenient, especially when I was on the go. However, I did wish the scent lingered a bit longer. On some days, I felt I had to reapply after 3-4 hours because it wore off.
Despite this minor issue, I absolutely loved this product. The combination of its fresh scent and ease of application made it a must-have in my beauty routine. Plus, the twist-and-spray atomizer ensured that I could take it anywhere without worrying about spills or leaks.
In conclusion, whether you're buying it for yourself or as a gift, CHANEL's Chance Eau Tendre eau de toilette is definitely worth considering. Its radiant scent and user-friendly design make it stand out from other perfumes on the market.

🔗Chanel Chance Hair Perfume Mist, Exquisite EDP for Hair

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I recently incorporated Chanel's Chance Parfum Hair Mist into my daily routine, and I'm absolutely smitten with it. The delicate scent of jasmine, pink pepper, patchouli, and vanilla creates an intoxicating aroma that perfectly complements my natural fragrance. Its long-lasting power means I don't have to constantly reapply throughout the day, making sure I always feel fresh and confident. Plus, it's incredibly easy to use - just a few spritzes onto my hair and I'm good to go!
However, there are a couple of minor downsides worth mentioning. Firstly, the price point may be slightly high for some people, especially considering it's only available in a 35ml bottle. Additionally, the potency of the scent might be too strong for those who prefer a more subtle fragrance.
Overall, Chanel's Chance Parfum Hair Mist has quickly become a staple in my beauty routine. Its luxurious scent and convenient packaging make it perfect for both casual daytime use and special occasions. I highly recommend giving this hair mist a try if you're looking to elevate your daily beauty regimen with a touch of Chanel elegance.

🔗Chanel Chance Eau Tendre Hair Mist - 35ml - Floral-Fruity Scent for Women

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I recently tried Chanel's Chance Eau Tendre Hair Mist, and I must say I'm quite impressed! This little bottle packs a big punch when it comes to scent. Infused with notes of grapefruit and jasmine, the aroma it leaves on my hair is simply intoxicating. The hair mist's spray dispenser makes application super easy and mess-free.
One thing that really stood out for me was the long-lasting fragrance. Even after a day spent out in the sun, my hair still retains that delicate floral-fruity scent that everyone seems to love. It's definitely a nice change from the harsh, alcohol-based perfumes that can often dry out my locks.
However, I will mention that if you're looking for a heavy, powerful scent, this might not be the product for you. The scent strength here is quite light and subtle - perfect for those who prefer a more understated aroma.
In conclusion, if you're in search of a delightful hair mist that will leave your tresses smelling fresh and lovely all day long, look no further than Chanel Chance Eau Tendre! Just remember to shake the bottle before using as some separation may occur due to the lack of alcohol in the formula.

🔗Chanel Chance Tendre Eau De Toilette Spray

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As a long-time fan of Chanel's exquisite fragrances, I was thrilled to discover their latest offering, the Chance Eau Tendre Eau De Toilette Spray. This delightful scent has quickly become my go-to for those days when I need a little extra boost of confidence.
From the moment I first spritzed it on, I was captivated by the harmonious blend of fruity and floral notes that dance on the skin. The initial burst of citrus is perfectly balanced by the subtle hints of jasmine and rose, creating a fresh and vibrant bouquet that lingers throughout the day. It's no wonder this is Chanel's bestselling fragrance family - it truly embodies elegance and sophistication.
One of my favorite aspects of this perfume is its impressive longevity. Even on days when I'm constantly on the go, the scent remains with me, enveloping me in its captivating aura. Whether I'm attending a sophisticated event or simply embracing the everyday moments of life, Chance Eau Tendre complements my presence with an understated elegance that leaves a lasting impression.
However, no product is perfect, and there are a few minor drawbacks to this otherwise exceptional fragrance. Some users may find the scent strength to be slightly too light, particularly in comparison to other Chanel perfumes. Additionally, due to its delicate nature, it may not be the most versatile choice for those who prefer a bold and intense aroma.
In conclusion, if you're seeking a fragrance that exudes femininity and charm, look no further than Chanel's Chance Eau Tendre Eau De Toilette Spray. Its enchanting blend of fruity and floral notes, coupled with its impressive longevity, make it a timeless classic that is sure to leave a lasting impression on all who encounter it.

🔗Chanel Chance Eau Tendre Eau de Parfum Set for Classic Everyday Scents

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Chance Chanel is my go-to perfume for any occasion. From the moment I spritzed it on, I was transported to a world of elegance and sophistication. The delicate floral scent, with its hints of jasmine and rose, is simply divine. What's even better is that this perfume has great longevity, lasting all day without being overpowering. Not only do I get countless compliments when I wear it, but it also makes me feel confident and radiant. The packaging is nothing short of stunning – a sleek glass bottle adorned with the iconic double-C logo, a true symbol of timeless beauty and elegance. If you're looking for a perfume that embodies femininity with a touch of Chanel's signature sophistication, Chance Chanel Eau Tendre is definitely worth a try. "
Its standout feature is the beautiful blend of floral and fruity notes, which creates a scent that is both fresh and romantic. The top notes of grapefruit and quince are zesty and uplifting, while the heart of the fragrance is dominated by delicate jasmine and hyacinth. The base notes add a warm and comforting touch with their hints of musk, amber, and cedarwood. The packaging is equally impressive – a simple yet elegant design with the iconic Chanel logo.
However, I must admit that I had a slightly disappointing experience with one particular purchase of this perfume. The scent of the new bottle was nothing like the product I had been using for years, which was a real let-down. Fortunately, the customer service team at Sephora were quick to replace the faulty bottle, but it's something to be aware of if you decide to purchase this perfume.
Overall, though, Chance Chanel Eau Tendre is a beautiful fragrance that is perfect for anyone who loves a soft and romantic scent. Its longevity is impressive, and the packaging is classic and timeless. If you're looking for a delicate and feminine perfume that will make you feel confident and radiant, then this one is definitely worth trying.

🔗Chanel Chance Fragrance Duo Travel Set

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I was excited to try out the Chanel Chance Eau Tendre & Chance Eau Fraîche Set during a recent trip, as I was looking for a versatile fragrance that could transition from day to night. As someone who's always on the go, the round, travel-friendly bottle instantly caught my eye - it's perfect for tossing into my bag to refresh my scent throughout the day.
First, I dove into the CHANCE EAU TENDRE Eau de Toilette, which features a lovely, fruity scent. It's like having a beautiful garden of soft, tender floral notes wrapped around me, making me feel fresh and revitalized. The green and fruity grapefruit-quince accord adds a unique twist that I absolutely adore. This scent was my favorite of the two, as it was perfect for the warm summer days I was experiencing while traveling.
However, when I transitioned to the CHANCE EAU FRAîCHE Eau de Toilette, I have to admit, I was a bit disappointed. While it was pleasant and refreshing with its zesty freshness of citron combined with jasmine and teak-wood notes, it didn't have the same allure or captivating quality as the Tendre version.
One issue I encountered with this set was the price point. For $180, I expected more value, and it would be nice to receive a discount for purchasing both scents together. But honestly, the Eau Tendre fragrance alone made the purchase worthwhile for me. Overall, the Chance Eau Tendre is my go-to choice for a light, fruit-infused, floral scent that adds a touch of elegance to any day.

Buyer's Guide

None

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FAQ

What is Chanel Chance Perfume?

Chanel Chance is a popular line of fragrances by the renowned luxury fashion house, Chanel. This collection features several distinct scents, with each one offering a unique blend of notes and aromas to suit different styles and preferences.

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How many Chanel Chance Perfumes are there?

There are currently four main Chanel Chance fragrances: Chance Eau Fraîche, Chance Eau Tendre, Chance Eau Vive, and the original Chance. Each has its own set of notes, making each variant unique in its own right.

Who is the target audience for Chanel Chance Perfume?

Chanel Chance Perfume is designed for a wide range of users, catering to both men and women. Each scent in the collection has been crafted to capture the essence of confidence, spontaneity, and modern femininity or masculinity.
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What are the different Chane Chance Perfume scents?

Chance Eau Fraîche: A fresh and vibrant scent with top notes of citrus, pink pepper, and jasmine
Chance Eau Tendre: A floral and sweet scent with notes of jasmine, white musk, and iris
Chance Eau Vive: A zesty and effervescent scent with notes of grapefruit, quince, and jasmine
Chance Original: A bold and sensual scent with notes of pink pepper, jasmine, and amber

How long does Chanel Chance Perfume last on the skin?

The longevity of a perfume largely depends on multiple factors, such as skin type, fragrance concentration, and environmental factors like temperature and humidity. Generally, the Chanel Chance fragrances are known for their good performance and lasting power on the skin, with some users reporting that they last for several hours.

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Are Chanel Chance Perfumes suitable for all seasons?

Yes, the Chanel Chance perfumes are designed to be suitable for all seasons. While some might cater to certain seasons more, each fragrance in the collection can be worn throughout the year, depending on your personal preferences and scent preferences for specific seasons.

Where can I purchase Chanel Chance Perfumes?

Chanel Chance Perfumes can be purchased at various brick-and-mortar stores, as well as through reputed online retailers. Always ensure that you're buying from an authenticated retailer to maintain the quality and integrity of your perfume purchase.

Are there any travel-sized versions of Chanel Chance Perfumes available?

Yes, Chanel offers travel-sized versions of some of its Chance perfumes to allow users to carry their favorite scents with them on-the-go. These compact versions come in the same elegant packaging as their full-sized counterparts, making them perfect for travel and everyday use.

How should I store my Chanel Chance Perfume?

To maintain the quality and longevity of your Chanel Chance Perfume, store it in a cool, dark place away from direct sunlight and extreme temperatures. Keeping the cap on tightly will also help preserve its fragrance and prevent any unwanted evaporation.

Are Chanel Chance Perfumes cruelty-free and environmentally friendly?

Chanel is committed to ethical practices and the responsible use of resources in its production processes. While specific information regarding the exact production methods of their Chance fragrances may not be available, the company regularly updates its sustainability initiatives and maintains a commitment to ethical practices across its product lines.
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2024.05.20 07:47 GuiltlessMaple Best Chanel 9 Perfume

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Indulge in the luxurious world of Chanel 9 Perfume with our exclusive roundup of the latest scents that are sure to captivate your senses. Whether you're a die-hard Chanel fan or just discovering the brand, this comprehensive guide will guide you through a collection of beautiful fragrances that are perfect for any occasion. So, sit back, take a deep breath, and let's explore the fabulous world of Chanel 9 Perfume together.
In this article, we'll provide you with detailed information about each Chanel 9 Perfume, including their key notes, longevity, and sillage. We'll also share user reviews and expert opinions to help you decide which fragrance aligns with your personal style and preferences. Stay tuned as we dive into the exquisite world of Chanel 9 Perfume, where opulence and elegance meet in a harmonious blend of scents. Enjoy the journey!

The Top 8 Best Chanel 9 Perfume

CHanel Chance Eau Tendre Travel Set - Experience the delicate and radiant charm of Chanel's Chance Eau Tendre Eau de Toilette travel set, complete with a full-size bottle and refillable twist-and-spray atomizer, perfect for on-the-go scent indulgence.
Chanel Chance Eau Tendre Eau de Parfum Set for Classic Everyday Scents - Experience the magic of the Chanel Chance Eau Tendre Eau de Parfum with this full-size and travel-sized set, boasting a pleasant and long-lasting scent, perfect for a radiant, feminine aroma anytime, anywhere.
Vintage Chanel No. 19 Parfum 1980s Sealed W/Box - Experience the iconic, glorious vintage Chanel No 19 Parfum in an astonishingly potent 1970s Pure Parfum, featuring exquisite notes of rose, jasmine, galbanum, and more, all in a nearly mint condition box and bottle.
Coco Mademoiselle Eau de Parfum Twist and Spray Set - Introducing the Chanel Coco Mademoiselle Eau de Parfum Twist and Spray Set: a limited edition featuring a versatile twist-and-spray atomizer and an enchanting scent, perfect for the bold and spirited woman.
Coco Mademoiselle Intense: A Captivating Fragrance for Women - Experience the captivating allure of Chanel Coco Mademoiselle Eau de Parfum Intense, an invigorating blend of jasmine, bergamot, and mandarin orange that leaves a lasting, woody impression with its powerful scent strength.
Ladies' Chanel No. 19 Eau de Toilette 100ml - Experience the iconic and daring Chanel EDT No. 19, a floral-woody-green scent that captures the essence of Mademoiselle in a 100ml spray bottle with optional bath and body rituals for an unforgettable fragrance journey.
Bleu de Chanel Eau de Parfum Spray for Men - Bleu de Chanel Eau de Parfum Spray is an enchanting blend of light and dark notes, perfect for all seasons and moods — a sensually vibrant scent that transcends boundaries while embracing individuality, all packaged in Chanel's signature elegant style.
Coco Mademoiselle Parfum Spray Trio Set - Enhance your personal style with Chanel's Coco Mademoiselle Eau de Parfum Twist and Spray, an Oriental fragrance perfect for every occasion, boasting an inviting scent that lasts throughout the day.

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Reviews

🔗CHanel Chance Eau Tendre Travel Set

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I was excited to give CHANEL's Chance Eau Tendre eau de toilette a try after hearing good things about it. The first thing that impressed me was the packaging. It came in a beautiful box that perfectly encapsulated the elegance I associated with the brand.
The scent itself is a delightful mix of fresh and fruity notes. It's mostly dominated by grapefruit and quince, with hints of jasmine and white musk in the background. I found it to be very pleasant – light enough for daily use but also unique enough to stand out from other fragrances I've tried.
One feature that stood out to me was the twist-and-spray atomizer. It made applying the perfume super easy and convenient, especially when I was on the go. However, I did wish the scent lingered a bit longer. On some days, I felt I had to reapply after 3-4 hours because it wore off.
Despite this minor issue, I absolutely loved this product. The combination of its fresh scent and ease of application made it a must-have in my beauty routine. Plus, the twist-and-spray atomizer ensured that I could take it anywhere without worrying about spills or leaks.
In conclusion, whether you're buying it for yourself or as a gift, CHANEL's Chance Eau Tendre eau de toilette is definitely worth considering. Its radiant scent and user-friendly design make it stand out from other perfumes on the market.

🔗Chanel Chance Eau Tendre Eau de Parfum Set for Classic Everyday Scents

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Chance Chanel is my go-to perfume for any occasion. From the moment I spritzed it on, I was transported to a world of elegance and sophistication. The delicate floral scent, with its hints of jasmine and rose, is simply divine. What's even better is that this perfume has great longevity, lasting all day without being overpowering. Not only do I get countless compliments when I wear it, but it also makes me feel confident and radiant. The packaging is nothing short of stunning – a sleek glass bottle adorned with the iconic double-C logo, a true symbol of timeless beauty and elegance. If you're looking for a perfume that embodies femininity with a touch of Chanel's signature sophistication, Chance Chanel Eau Tendre is definitely worth a try. "
Its standout feature is the beautiful blend of floral and fruity notes, which creates a scent that is both fresh and romantic. The top notes of grapefruit and quince are zesty and uplifting, while the heart of the fragrance is dominated by delicate jasmine and hyacinth. The base notes add a warm and comforting touch with their hints of musk, amber, and cedarwood. The packaging is equally impressive – a simple yet elegant design with the iconic Chanel logo.
However, I must admit that I had a slightly disappointing experience with one particular purchase of this perfume. The scent of the new bottle was nothing like the product I had been using for years, which was a real let-down. Fortunately, the customer service team at Sephora were quick to replace the faulty bottle, but it's something to be aware of if you decide to purchase this perfume.
Overall, though, Chance Chanel Eau Tendre is a beautiful fragrance that is perfect for anyone who loves a soft and romantic scent. Its longevity is impressive, and the packaging is classic and timeless. If you're looking for a delicate and feminine perfume that will make you feel confident and radiant, then this one is definitely worth trying.

🔗Vintage Chanel No. 19 Parfum 1980s Sealed W/Box

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I recently got my hands on a vintage bottle of Chanel No. 19 Parfum. Upon opening it, I was instantly transported back to the era of classic perfumes. This fragrance is unlike any modern interpretation of No. 19 that I've come across in recent years.
The top notes are dominated by aldehydes, bergamot, galbanum, neroli, and hyacinth, giving it an uplifting and fresh scent. The heart notes reveal a harmonious blend of jasmine, rose de mai, lily of the valley, orris, and Nossi-Be ylang ylang, which adds a beautiful floral touch.
What sets this apart is the base notes: oakmoss, vetiver, sandalwood, leather, and musk. They create a rich, warm, and sensual aroma that lasts on your skin for hours. This old-school formula is practically impossible to find today, as it has been replaced by lighter and more commercially acceptable versions of No. 19.
The bottle itself is a visual treat, with its hand-sealed wax seal and near mint condition box. Although this particular bottle is no longer sealed due to an unfortunate shattering of the wax seal, the fragrance within remains as potent as ever.
One downside is the mottled stickers on the inner box and bottle. This age-related discoloration is common in many 1970s perfumes, but it might not appeal to everyone's taste. However, this small flaw does not affect the quality or potency of the fragrance itself.
In summary, the Vintage Chanel No. 19 Parfum evokes a sense of nostalgia and glamour with its complex, rich, and timeless scent. While the packaging may show some signs of age, the enchanting aroma that envelops you upon application more than compensates for it.

🔗Coco Mademoiselle Eau de Parfum Twist and Spray Set

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My experience with the Chanel Coco Mademoiselle Eau de Parfum Twist and Spray Set has been quite pleasant. The elegant and chic design of the bottle, along with the twist and spray atomizer, makes it convenient and sophisticated enough to carry around in my purse.
The scent is not overpowering, but it's noticeable and lasts throughout the day. It's the perfect combination of sweet floral notes and deep earthy undertones. I find myself getting compliments from others whenever I wear it, which is always a nice bonus.
One of the highlights of this set is the refillable twist-and-spray atomizer. Not only does it save on packaging and reduce waste, but it also allows me to take my favorite fragrance with me wherever I go.
However, there have been a few instances where the scent didn't last as long as I'd hoped. It seems to vary depending on the weather, with the fragrance not lasting as long in hot or humid conditions.
Overall, I would recommend this product to anyone looking for a high-quality, long-lasting, and versatile fragrance. The twist and spray atomizer adds an extra level of convenience and portability, making it perfect for travel or on-the-go application.

🔗Coco Mademoiselle Intense: A Captivating Fragrance for Women

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I recently stumbled upon the Coco Mademoiselle Eau de Parfum Intense by Chanel and added it to my daily routine. From the moment I spritzed it on, I knew it was something special. Featuring top notes of bergamot and mandarin orange, it offers an invigorating aroma right off the bat. The middle notes of jasmine and Turkish rose give it a pleasant fragrance that lingers throughout the day, while the base notes of vanilla and patchouli add a sense of depth and elegance.
One thing I truly appreciate about this EDP is its longevity. With just a few sprays, the fragrance lasts for hours, gradually releasing its alluring scent. I remember attending a formal event where I received multiple compliments on how captivating my scent was - and it was all thanks to the Coco Mademoiselle Eau de Parfum Intense!
Another highlight is the packaging. The sleek bottle design, with its timeless black label, perfectly captures the essence of the Coco Chanel brand. It's a beautiful addition to any perfume collection or a perfect gift for that special someone in your life.
However, I must note that fragrances are subjective. Some might not find this scent to their liking due to its unique blend of notes. My advice? Test it out on your skin or try a sample first before making a purchase.
In conclusion, the Coco Mademoiselle Eau de Parfum Intense by Chanel has become a staple in my daily routine, providing me with an invigorating aroma and a timeless sense of elegance. It's definitely worth a try if you're looking for an exquisite scent that stands the test of time.

🔗Ladies' Chanel No. 19 Eau de Toilette 100ml

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As I dabbed on a few spritzes of this captivating scent, I couldn't help but feel a sudden surge of confidence and allure. The Chanel EDT No 19 is definitely a daring, distinctive fragrance that leaves a lasting impression. The floral-woody-green notes strike the perfect balance, making it an uncompromising composition, much like its wearer.
One aspect that I absolutely loved was the easy and fluent application. The eau de toilette in a spray format made it so convenient to lightly mist on my skin or even inside my clothing. Plus, the bath and body product range added an extra layer of enchantment to my daily perfuming ritual.
However, on the downside, some users might find the scent a bit strong for everyday use. It's more suitable for those who prefer bold, statement-making fragrances. Overall, the Chanel EDT No 19 is a powerful, captivating perfume that's perfect for those who aren't afraid to turn heads with their scent.

🔗Bleu de Chanel Eau de Parfum Spray for Men

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Bleu de Chanel by Chanel is a bold and alluring scent that captures the essence of adventure and sophistication. I had the pleasure of trying out this Eau de Parfum Spray, and it quickly became a staple in my daily routine. As soon as I spritzed it on, I was transported to a world of fresh citrus and warm spices. The grapefruit note adds a refreshing zing, while the ginger and incense give it a mysterious depth.
One thing that stood out to me was the superb longevity of this fragrance. Even after a long day at work, the scent lingered on my skin, leaving me feeling confident and stylish. Additionally, the sleek and elegant design of the bottle made it a welcome addition to my vanity.
However, there are a couple of downsides worth mentioning. Firstly, the price point may be a bit steep for some consumers, but I believe the quality and performance of the product justify the cost. Secondly, while the fragrance is not overwhelmingly powerful, it does have a certain presence that may not be suitable for all occasions.
In conclusion, Bleu de Chanel by Chanel is a phenomenal Eau de Parfum Spray that truly deserves its high rating. Its unique blend of citrus, spice, and woody notes creates a captivating and timeless scent that is perfect for any season. If you're in search of a luxurious, long-lasting fragrance that turns heads and leaves a lasting impression, look no further than Bleu de Chanel.

🔗Coco Mademoiselle Parfum Spray Trio Set

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Alright, let me tell you about this beautiful Chanel Coco Mademoiselle Eau de Parfum Twist and Spray 3 x 0.7 oz. Imagine getting ready in the morning and spritzing yourself with a divine scent that will stay with you all day, even when you're sipping cocktails at a rooftop bar? Yeah, that's the magic of this lovely perfume.
The first whiff you get will be bright and fruity, like a fresh burst of orange. Then, as the day progresses, it'll turn into a lovely combination of jasmine blossom and rose. The best part? The deep, earthy notes of patchouli that keep you smelling fresh and confident throughout the day.
However, like any product, there are some cons to consider. It's a bit on the pricey side, but hey, it's Chanel! If you're not used to strong scents, this might not be your cup of tea. And remember, a little goes a long way, so don't overdo it.
But overall, I absolutely adore this product. The packaging is luxurious and elegant, and it's perfect for travel. It's definitely worth the investment, and anyone who tries it will fall in love with it, just like I did. So go ahead, treat yourself to this divine concoction and prepare to be showered with compliments all day long!

Buyer's Guide

None

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FAQ

What are the top Chanel perfumes available in the market?

Chanel offers an array of beautiful and elegant perfumes. Some of the most popular ones are Chanel N°5, Chanel N°5 L'Eau, Chanel Coco Mademoiselle, Chanel Chance, and Chanel Allure.

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How do I choose the right Chanel perfume for me?

Choosing the right Chanel perfume depends on your personal preference. It's best to try a few samples and see which one resonates with you most. Pay attention to the notes and scent families (floral, fruity, oriental etc. ) as that will help you narrow down your choices.

Can I purchase Chanel perfumes online?

Yes, you can purchase Chanel perfumes online from authorized sellers such as Chanel's official website or other reputable retailers. Be sure to verify the authenticity of the product before making a purchase.

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What are some popular notes in Chanel perfumes?

Chanel is known for its unique and innovative blends of notes. Some popular ones include jasmine, rose, vanilla, iris, and citrus scents.

How long do Chanel perfumes last?

The longevity of a perfume depends on several factors, such as your skin's natural chemistry and how much you apply. However, Chanel perfumes are typically known for their excellent sillage (projection) and lasting power, with some lasting up to 8 hours or more.

How should I store my Chanel perfume?

To maintain the quality of your Chanel perfume, store it in a cool, dark place away from direct sunlight or heat sources. Keep the cap on when not in use, and avoid shaking the bottle excessively.

Do Chanel perfumes have any allergen warnings?

Chanel perfumes are subject to the EU allergens labeling requirement. This means that certain perfumes may contain ingredients that could cause allergies or irritation. Check the product label or the Chanel website for a list of allergen ingredients.

How can I tell if my Chanel perfume is authentic?

To ensure you're purchasing an authentic Chanel perfume, buy from authorized sellers, and verify the packaging and labeling. Authentic Chanel perfumes have specific details such as a holographic foil on the box, an embossed Chanel insignia on the cap, and a solid color on the bottom of the bottle.

What is the difference between Eau de Parfum (EDP) and Eau de Toilette (EDT) in Chanel perfumes?

Eau de Parfum (EDP) generally contains a higher concentration of fragrance oil compared to Eau de Toilette (EDT), resulting in a stronger and longer-lasting scent. EDT is usually lighter and less intense than EDP.

How should I apply Chanel perfume to get the best results?

For ideal application, spray your Chanel perfume on pulse points such as your wrists, behind your ears, and the crook of your elbow. This will help the scent to radiate and last longer. Avoid rubbing the perfume into your skin, as it can alter the scent.
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2024.05.20 07:12 James_Readme Why we shouldn't use the word CULT?

According to Psychologytoday.com:
"The application of this term is prejudice in practice. The vast canyon of meaning that people imagine exists between cults and religions is not there. It is a fabrication of sloppy thinking.
One should not have too much difficulty recognizing "cult" as an unsavory stealth word with an unjust mission. This is verbalized bullying that demeans less popular groups and distances them from more popular groups. Labeling a group a cult is a cowardly way of tolerating, condoning, appeasing, or promoting favored religions while simultaneously rejecting and disparaging a minority religion."
"People argue that some groups deserve the cult insult because of their potential danger to members and/or others. But how does this make "cults" special when the world's most widely respected religions have helped cause and inspire hate, violence, and destruction on a massive scale for centuries and still do today to a significant degree?" https://www.psychologytoday.com/us/blog/about-thinking/201607/why-no-one-should-ever-use-the-word-cult
According to Rappler.com:
"Sociologist of religion Jayeel Cornelio, a professor at Ateneo de Manila University, is one of the many scholars who avoid using the term "cult."
"It's a morally loaded term defined for the rest of us by the majority," Cornelio told Rappler.
He outlined, in a mix of English and Filipino, the implications of the term: "You are a cult because you're a religious minority. You are a cult because you are practicing these strange worship practices. You have these strange, weird, funny beliefs.” He said this mindset is "not very helpful" because "the majority feels that their own beliefs are unassailable, are not strange."
He cites as an example the Catholic belief in "transubstantiation," which means that the bread and wine offered at Mass become the real body and blood of Christ - not symbols, but what Catholics call the "Real Presence." In the early days of Christianity, nonbelievers viewed this as a form of cannibalism, prompting them to persecute Christianity as a "cult."
Cornelio said transubstantiation is "very strange" in the eyes of nonbelievers. "But nobody will question transubstantiation as a cultic belief because everybody believes in it, believes that doctrine," he said in the context of the Philippines, a predominantly Catholic country.
The sociologist also noted how people call the SBSI a cult due to sexual abuses within the organization. "But we're not willing to call the Catholic Church a cult whenever we encounter sexual abuses like this," he said.
Calling a group a cult, added the sociologist, "assumes that people are brainwashed" – which is a "dangerous" assumption."
"Another sociologist of religion, University of the Philippines professor Gerry Lanuza, also rejects the use of the term "cult."
"In an interview with Rappler, Lanuza said "cult" is one of the "very controversial and contested" terms in the social sciences. This label is "value-loaded or politically explosive,"..."
"You immediately assume that the connotation is negative," he said in a mix of English and Filipino, implying that "there is something dark, hideous" within the organization.
Lanuza said using the term "cult" is akin to using the word "terrorist." He asked, "Who is the terrorist from whose point of view?" https://www.rappler.com/newsbreak/explainers/things-to-know-what-is-cult-decades-debate/
According to Religionlink.com:
"As Northeastern University professor Megan Goodwin pointed out, using "cult" to label religious or social groups that we don't like or that we consider "strange" often marks those communities as "legitimate targets of state surveillance and violence."
"Part of the reason some people use the label is because some of the groups that fall into this category are known for saying and doing things that are problematic, or abusive. So why is it inappropriate to use the word? For one thing, virtually no one who is part of a group labeled as a "cult" sees themselves as a cult member. Rather they are a believer, disciple, or part of a religious community."
"It is common for family members, ex-members, law enforcement and media to use the term "cult" to drum up interest about, discredit or accuse these groups. The label comes with certain stereotypes: a charismatic leader, dangerous rituals, " end times" prophecies or other seemingly strange and reclusive behaviors that don't fit our definition of what a "real religion" should be."
"Even so, most (though not all) religion journalists and scholars agree: The word "cult" should be shelved." https://religionlink.com/reporting-on/reporting-on-new-religious-movements-nrms/
Note: That is why it is WRONG to use the word CULT in minority religions like the Iglesia ni Cristo.

submitted by James_Readme to TrueIglesiaNiCristo [link] [comments]

2024.05.20 07:09 Stanley232323 Daily Help/Questions/Fusion Suggestions Megathread 5/20/24

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2024.05.20 04:35 Battlecode907 D387 Advanced Java Additional Tips

Task A: You already know the drill by getting the Gitlab repository if you've done the past two courses of Java.
Advanced Java Walk through Guide
Advanced Java Additional Tips
Req B1: The Java walkthrough guides help provide you further insight on what you should be doing. Now I'll give a few more details about it. It's important that the html file is edited and it uses the array method or list to display your welcome messages on the main screen. It's best to build a rest controller on the backend, so that you can link it to the frontend for Angular on the app.component.ts file. You can create a second file that implements runnable and this is used to retrieve the two different locale messages from the resource bundle. And then you can use this class on your controller file which can then be used for the Angular front end. Just be sure to start the threads on the SampleCodeApplication if you go down this route. You can look at the Java guide for more details about this part. I believe that this is the hardest part of the entire project.
Req B2: You can use the documentation cited in the Java guide for B2 if you want to learn more about how to do this. You just need to edit the App.component.ts file and the html file. Add in two more prices one being CAD and the other being EUR. They can remain the same and there's no need for currency conversion here as they don't require it, but it's important to simply add these two variables to the room class. And then create a simple forEach loop through these two variables you added for the room class. You then add these beneath the price object that is on the html page and you can follow it exactly how it's done with the first price. Just use windows + . to get the emoji keyboard if you use windows and there's a symbols tab at the top and there's a currency category below. This part is the easiest one for writing code here.
Req B3: You can follow the same route as you did in B1 by creating a rest controller. You need to create three timezones and all three of them are displayed on the page. So the page should show ET, MT, and UTC. You just need the hours and the minutes for the time format. I recommend you to use the resources provided by the Java guide. This should help you out with what you need help with.
Req C1: Right click on the root folder and create a docker file. Click on the target folder and you should see a JAR file in there. You want to copy the file path and just paste it into the docker file's file path. Then just keep target/JAR file because that's all you need. For the entry points, just copy it from the link in this article exactly the same way. Note: there shouldn't be a maintainer because there's no reason to have one for this project.
Req C2: You need to open up the docker desktop app and make sure that the setting "expose daemon" is enabled on the docker desktop app. The okay button is on the top right corner in case you didn't see it. Then you use the command "docker build -t [d387_student id] ." Just remember that this is done on IntelliJ using the terminal which is at the bottom left corner of your screen. It should successfully build it and you can verify this by using "docker images" in the terminal. Then use the command "docker run -p 8080:8080 [name of file]" to run it. It should work fine as long as "expose daemon" is enabled.
Req C3: You can use the Java guide and follow it exactly. You're simply describing how you would deploy your current application to the cloud using AWS or Azure. But Azure is more simplistic and easier to explain if that's what you're looking for.
D: You just need to print pdf the Gitlab branch history, a file for the screenshots and a file for C3 which can be done on Word, and then the Gitlab repository link.
That's all you need for this course right here. I think it's less work than D288 and even D287 once you understand what you must do. However, it takes time to learn new concepts like multithreading. I've completed this course much faster than the previous two courses. You could get this course done in a matter of days if you focus and learn what's needed. You can use ChatGPT to help you understand Angular and Spring Boot concepts as well. It can help you understand the code that you're reading.

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2024.05.20 04:33 Battlecode907 D387 Advanced Java Additional Tips

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2024.05.19 22:45 MonkeyBrawler I got F13+ to work on Nobara

Like many of you, i'm just starting my journey on attempting the transition to Linux Gaming. Steam really has made it insanely easy. My biggest struggle recently was just getting F13+ keys to function, and maaaaaaaaaaaaaaaaaan aparently they are a weird concept for long time Linux users. I attempted to paste over the keys in the inet file as commonly recommended as a solution, but no luck. I finally found the answer hidden in a forgotten post by a champion of the deleted.
I really don't know what i'm doing just yet, so forgive me if this is common knowledge to many of you, but my god google has not been very helpfull, and it has been the most frustrating problem. If i understand correctly this primarily became an issue/change when Wayland was release, and X11 no longer used? No idea what those are, but this may be the solution for multiple Fedora/wayland distros. By all means, feel free to explain these like i'm 5.
Keep in mind, i still had to figure out how to map the keys to my Logitech gear via Piper, the guide i followed for that is here. The hard to find fix i'm discussing, is essentially extending the computers understanding of what to do with these inputs. You still need to use piper or some other program to get a key to provide the input.
Copy paste of the heros instructions below, and you're out there, bless you.
I finally figured it out, and got some solutions too. I’ll try to explain first and then tell you what you can do, although you can skip the explanation.

The problem

Basically there are 4 main parts in the Linux input stack relevant in this discussion:
1. At the very low level, the kernel gives keycodes to the keyboard keys and mouse buttons. Defined in /usinclude/linux/input-event-codes.h:

#define KEY_F13183

2. At a higher level, XKB then assigns names to those keycodes (/usshare/X11/xkb/keycodes/evdev) …and proceeds to assign them X11 symbols (/usinclude/X11/keysymdef.h) …in file /usshare/X11/xkb/symbols/inet:

key  { [ XF86Tools ] };

3. Your desktop environment (GNOME in this case) assigns global shortcuts to a combination of symbols, common ones configurable via GNOME settings and some hidden in gsettings schemas by GNOME settings daemon.
4. Finally at the top level you got the applications receiving the keysyms that weren’t designated for global shortcuts.
Here I’m using key-mapper for example, and if it resembles the key remapping utility you’re using, likely assigns the kernel keycodes to your mouse buttons (level 1), but XKB is assigning the “wrong” symbols to those keycodes (level 2). In turn GNOME (level 3) already defines an action for some of those keys to perform an action (toggle microphone and trackpad), and maybe some don’t even reach the application (level 4).
The culprit seems to be exactly in file /usshare/X11/xkb/symbols/inet:

key  { [ XF86TouchpadToggle ] }; key  { [ XF86TouchpadOn ] }; key  { [ XF86TouchpadOff ] }; … key  { [ XF86AudioMicMute ] }; … key  { [ XF86Tools ] }; key  { [ XF86Launch5 ] }; key  { [ XF86Launch6 ] }; key  { [ XF86Launch7 ] }; key  { [ XF86Launch8 ] }; key  { [ XF86Launch9 ] };

Notice how the F19 key is not used though.
We can, of course, assign the keys to their original symbol:

key  { [ F13 ] };

But to do it in /usshare/X11/xkb/symbols/inet is not recommended, as an update to XKB will restore the original definitions. Besides, it’s a pretty important file and if it’s badly configured you could crash your session and prevent you from login. I tried it and it even kept crashing my login manager (gdm), ttys (Ctrl+Alt+Fk) wouldn’t work too, so I had to chroot in a live usb and restore the original file.
What we could do instead is to create a custom XKB option. I believe it’s important that it’s an XKB option in /usshare/X11/xkb/symbols, because I think setxkbmap adds the “inet(evdev)” layout on top of whatever layout we have, so creating a new XKB layout won‘t help here. An option instead is added on top of every layout, even “inet(evdev)”.
I also tried to do it with XKB user-configurable options in Wayland (via ~/.config/xkb) but it seems the user options are added before the ones located in /usshare, so “inet(evdev)” ends up setting the symbols of the function keys.
We have to fix this the old fashioned way.

The solution

1. Create a new file under /usshare/X11/xkb/symbols/ called "myoptions". Paste this in there:

default partial function_keys xkb_symbols "restore_fk" { key { [ F13 ] }; key { [ F14 ] }; key { [ F15 ] }; key { [ F16 ] }; key { [ F17 ] }; key { [ F18 ] }; key { [ F19 ] }; key { [ F20 ] }; key { [ F21 ] }; key { [ F22 ] }; key { [ F23 ] }; key { [ F24 ] }; };

2. Edit the /usshare/X11/xkb/rules/evdev file, find the !option = symbols line and add your symbols filename and option name, like so:

! option = symbols myopts:re_fk = +myoptions(restore_fk)

3. (Optional \*) Edit the rules/evdev.xml (this one is with .xml), find the opening tag and paste this immediately below the tag

  myopts My custom options

Note:
\* Do this if you want GNOME Tweaks to pick up the config file and display it under “Keyboard & Mouse > Additional Layout Options”. If you don’t you can still set the new option via dconf Editor, edit /org/gnome/desktop/input-sources/xkb-options, then add the option as you did in step 2, so ['myopts:re_fk'].
The old method of defining custom options still has its flaws though. As said above, an update to XKB will undo the changes to evdev and evdev.xml files, so you’ll have to redo step 2 and 3 after some time. You could automatize the process with a script file using sed, or apply a patch file, or something else, but since it’s infrequent that XKB updates I think it’s better to just manually edit it yourself.

Aftermath

After enabling the option GNOME settings correctly identified all F13-F24 keys when trying to assign them to global shortcuts. If not used for global shortcuts, the keys function will depend on the app/game that receives the keystrokes, e. g. I can set all SuperTuxKart keybindings to F13-F24 keys and it works perfectly fine, however the settings menu displays an ? for F16-F24, as it didn’t expect users to actually have a keyboard with function keys beyond F15.

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http://rodzice.org/

How do you do the fleur de lis symbol on the keyboard

Daily Help/Questions/Fusion Suggestions Megathread 5/21/24

"The Morrígan"

The Morrigan: Triple Goddess of Death by Anna Otto Contra is another great page I read up on this.

T​he Three Sisters

Episode 4: The Newly Dead

Previous Episode: Oathbreaker

♪Episode Song References♪

ᕕ( ᐛ)ᕗ

The Top 8 Best Chanel Chance Perfume

Reviews

Buyer's Guide

FAQ

What is Chanel Chance Perfume?

How many Chanel Chance Perfumes are there?

Who is the target audience for Chanel Chance Perfume?

What are the different Chane Chance Perfume scents?

How long does Chanel Chance Perfume last on the skin?

Are Chanel Chance Perfumes suitable for all seasons?

Where can I purchase Chanel Chance Perfumes?

Are there any travel-sized versions of Chanel Chance Perfumes available?

How should I store my Chanel Chance Perfume?

Are Chanel Chance Perfumes cruelty-free and environmentally friendly?

The Top 8 Best Chanel 9 Perfume

Reviews

Buyer's Guide

FAQ

What are the top Chanel perfumes available in the market?

How do I choose the right Chanel perfume for me?

Can I purchase Chanel perfumes online?

What are some popular notes in Chanel perfumes?

How long do Chanel perfumes last?

How should I store my Chanel perfume?

Do Chanel perfumes have any allergen warnings?

How can I tell if my Chanel perfume is authentic?

What is the difference between Eau de Parfum (EDP) and Eau de Toilette (EDT) in Chanel perfumes?

How should I apply Chanel perfume to get the best results?

The problem

The solution

Aftermath

The Three Sisters