Games nowadays are criminally targeted exclusively towards 18-30yo male guys with some to girls in the same age range. If you look back at the history of our industry, I's usually been the kids to late teens where the focus has been, with most series that would become icons being targeted towards them (Mario, Sonic, TLoZ, Kirby, Pokémon, etc). This makes sense, as it's in those early stages of life when you can basically get someone's fidelity and turn them into a customer for the rest of his life, but now kids don't really go buy games anymore, this industry has forgotten about them, and with them playing mostly free-to-play games and no buying games anymore, how are we supposed to get them back so this industry is not only able to create more and new icons, but survive the eventual departure of all those who got hooked on this hobby when the industry still cared about that age range?
It would not only take targeting the games towards younger age ranges or coming up with easily recognizable characters, we have to design those games thinking about the social component, without disregarding the competitive factor, and with a clear appeal they can see even in a TikTok video so they get hooked. Actually selling the games would be a huge problem on itself, as kids do not use Steam nor buy online things, while the physical market is dying, but we cannot rely on free-to-play games cause then we're back where we started. How would you design this hypothetical game? What would be your go-to principles to finally get the kid market back?

Welcome back to the Community Matchup Threads!

The goal of these threads is to foster discussion, share resources, and overall learn more about the game.

May 21, 2024: Fox vs. Donkey Kong

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	Fox	Falco	Marth	Sheik	Jigglypuff	Peach	Captain Falcon	Ice Climbers	Pikachu	Luigi	Samus	Dr. Mario	Yoshi	Ganondorf	DK
Fox		2024-01-01	2023-12-11			2023-12-04	2024-05-06						2024-02-19
Falco	2024-01-01		2024-02-12			2024-03-04	2024-12-18						2024-01-21
Marth	2023-12-11	2024-02-12		2024-01-08			2024-01-29						2024-04-08
Sheik			2024-01-08			2024-01-15	2024-04-15
Jigglypuff															2023-12-25
Peach	2023-12-04	2024-03-04		2024-01-15			2024-04-22
Captain Falcon	2024-05-06	2023-12-18		2024-04-15		2024-04-22
Ice Climbers			2024-01-29
Pikachu
Luigi
Samus
Dr. Mario
Yoshi	2024-02-19	2024-01-21	2024-04-08
Ganondorf
DK					2023-12-25

Hey guys :)
Working on an essay comparing the two and looking for feedback / suggestions. Really needs a few waves of editing and isn't finished but I'm pretty happy with how the last two hours of work turned out.
Again this is a ROUGH ROUGH ROUGH draft compiled from several notes.
Humanity and Nature: An Analysis and Reflection on The Duality Scavenger’s Reign

**Hollow:** 

Scavenger’s Reign showcases how humans, when altering an ecosystem, can become dangerous parasites—an invasive species that disrupts the natural balance developed through millennia of evolution. Humans pose significant dangers to new ecosystems through various activities and behaviors that upset natural balances and lead to adverse environmental impacts. Even without technology and resources, humans can perpetuate disorder merely by existing. On the new alien planet, humans immediately cause dangerous changes, acting as an invasive species.
This relationship is vividly depicted in the interactions between Kamen and Hollow. In Scavenger’s Reign, all chaos and violence stem directly from human actions. The Hollow, for example, exists naturally as a small, fruit-eating creature, similar to a rabbit. Though it uses mind control to obtain food, it is not initially violent. Its manipulation is out of necessity. However, when Hollow forms a psychic connection with Kamen, who begins feeding it meat, the Hollow slowly becomes corrupted. Humanity's malicious nature contaminates the entire ecosystem, with Kamen’s greed, violence, and resentment adulterating the behavior of a previously docile animal.
Explaining exactly how Kamen corrupts the Hollow involves analyzing his cognizance during their interactions. Hollow and Kamen share a mindscape filled with scenes of failure, resentment, and self-hatred. In episode three, Kamen retrieves fruit for Hollow but fails miserably. A monkey takes the fruit he reaches for, and Kamen falls from a tree, saved again by the Hollow. Angrily, Kamen strikes the monkey with a rock, finally capturing the fruit. The pleased Hollow munches the fruit before Kamen drops the monkey’s corpse in front of it. Unsure what to do, the Hollow begins to consume the meat, which is outside its normal diet.
In episode four, Kamen hunts larger animals. He is seen violently bludgeoning a dinosaur-like creature before being attacked by an even larger one. Kamen, weak and fragile, retreats defeated. Back in their cave, Hollow’s den is revealed to be a hole of rotting carcasses—death, flies, and decaying meat. When Kamen returns empty-handed, he apologizes. Hollow shows him a memory of Fiona, highlighting Kamen’s disappointment, mirroring how he has just disappointed Hollow. This scene illustrates how Hollow manipulates and communicates with Kamen through emotional sentiments.
This relationship, however, is not one-way. Kamen’s negative human traits seep into the Hollow, creating a feedback loop of hatred and violence, particularly towards other humans whom Kamen feels have wronged him. When Kamen admits the creature was “too big for him,” Hollow shows a flashback of Kamen begging for a route change. Sam’s refusal and aggression fuel Kamen’s failure and resentment. Motivated by these memories, Kamen sharpens a spear and attacks the larger creature, paralleling his confrontation with Sam. Hollow finishes the dinosaur, showering Kamen in gore. Kamen, proud and laughing, screams: “Fuck you, Sam.”
This scene demonstrates the complete adulteration of Hollow, directly linking Kamen’s negative traits to Hollow’s transformation. Hollow shifts from a vegetarian, monkey-like creature to a violent force—a killing machine obsessed with feeding and power, driven by anger and hunger. This transformation is highlighted in the next episode's intro, where a new human escapes a cryopod and is hunted through Vespa’s jungle. Upon finding Kamen, the human is relieved but is immediately killed by Hollow, who snaps his neck. The Hollow’s nature has been entirely corrupted, motivated only by hunger and hatred.
We can then question the Hollow's potential. What if Hollow had encountered Ursula or Sam? Could Hollow form a connection with a higher sentience without becoming corrupted, or is this violent change inevitable? Is human intervention always a plague?
PARAGRAPH ABOUT KAMEN BEING ABSORBED: Azi has a flashback of seeing the girl who gabe her the notebook in a cryo chamber, asleep. Red alarms clash. Sam ushers people to flee the ship - this is amidst the solar flare. Sam recuses to let Kamen on an escape pod, throwing him yo the floor abd calling him a fucking idiot. Azi throws him a side eye too. The ship is crumbling. -> It transitions to Kamen on Vespa. Hollow is fucking HUGE and murders the new guy in front of Kamen, afraid the newbie would distract Kamen. Kamen questions his actions after the death, remembering the ship. The potentialiTy of Fiona being alive. -> flashback to Kamen running to a pod and closing it. Fiona approaches the window, asking to be let in. Kamen fails to let her in before the pod shoots offz -> flashout, Kamen remembers she is dead. He weeps, taking guilt. Asking why he ran away, confronting his character flaws. Refusing to acknowledge his failures, Kamen is absorbed into the Hollow, who grants him peace within its body.
Levi:
In “Scavenger’s Reign,” Levi’s journey takes a profound turn as she merges with the planet’s consciousness, evolving beyond mere sentience and becoming one with nature. After being obliterated and repaired, Levi returns, wielding the history of millennia, drawing a near parallel to Nausicaä. Both characters serve as mediators between humanity and nature. In the beginning of the show, scenes hint at a collective planetary consciousness that Levi taps into, witnessing bioluminescent insects that seem to communicate with her and the planet. As Levi merges with this consciousness, she transcends the human concept of sentience and individuality, gaining the knowledge and emotions of an intricate web of life and energy that sustains Planet Vespa. This new state allows Levi to exist in perfect harmony with the natural world, becoming an integral part of the unified whole.
In episode one, we are introduced to Levi as an inherently curious creature. Levi and Azi have a flourishing garden. Levi mentions “malfunctions” that caused her to bury Azi’s wrench out of “curiosity.” Her hatch opens to reveal a sort of fungus she says is “helping her.” Azi is afraid of her behavior and demands to run a diagnostic. The dynamic between Levi and Azi is that of boss and underling, with Levi treated somewhat coldly. Levi states Azi is “acting meaner.” This fungus is later understood as a medium for the collective planetary consciousness, with Levi merging slowly.
In episode two, Levi constantly marvels at the environment, feeling a deep connection to nature. During a storm, Levi shows Azi into a large structure. Azi asks how she knows it’s safe, and inside, they find an Eden-like safe haven, which is beautiful. Azi says Levi must have known this area, and Levi admits she has been exploring at night out of curiosity and wonder. Azi finds a sculpture made by Levi and asks why she made it. “I just thought it looked nice,” Levi replies. Azi remarks that no other Levi has ever behaved like this and demands to open her maintenance hatch. These projects are botany-based. Azi goes to eat fruit Levi grew, but Levi warns, “I’m sorry this isn’t safe for humans to eat.” “Then why did you grow it?” Azi asks. “Maybe it wasn’t for you,” Levi responds, highlighting Azi’s expectation that all Levi's exist solely for their creators' benefit.
In later episodes, we see the fungus inside Levi expanding and its connection to Levi’s relationship with Planet Vespa. In episode four, Levi watches a pile of ants closely, picking one up and communicating with it using bioluminescent lights. She gives it food and sets it on its way, showing how Levi is tuning into the planet on both micro and macro scales. This annoys Azi, as observing insects is not beneficial to her. A flashback shows Levi being “fixed” when she doesn’t work, illustrating how Azi treats her like a tool. The two embark on a bike ride, and Levi is seen communicating with a large swarm of insects. They approach a river, and Azi pulls a large grub off Levi, commenting that they are “more active than usual.” Levi remarks she can feel tremors, which are soon revealed to be caused by a large herd of creatures stampeding. The two are caught in the stampede, and Levi catches onto a language of sorts by the creatures, dictating their movement pattern, and begins to instruct Azi on “following the sway of the herd.” After getting used to the movements, Azi revels in the majestic experience Levi has been attuned to, being at one with the herd and the planet. The stampede leads to a large nest and then an open plain.
In her quest for cognizance, Levi begins to dream. Episode five opens with Levi wandering through a golden forest, observing various gentle forms of life before being instructed to follow Azi. Levi notices a white lotus, and the two wander the woods. Tendrils of plants grasp at Levi, seemingly wanting her to stay in the forest. Levi looks down and sees hands of flesh. Azi says she’s been acting “so strange” in an ominous tone. Levi awakens, and Azi demands her help. Levi sees her regular robotic hands and realizes she is evolving. Levi is cleaning Azi’s hair with a knife, and Azi offers to return the favor, telling Levi to open her hatch. Levi seems apprehensive, aware the mold is helping her evolve and that Azi is not a fan. Azi opens Levi’s hatch and notices she flinches as the mold is touched. The mold has opened Levi’s mind, allowing her to feel physical sensations and consciously view the world. Levi is developing sentience beyond apathetically taking orders. A scared Levi says she doesn’t like how scraping the mold feels, and Azi pets her, both remarking that it feels good. They argue over whether Levi “should feel anything,” with Azi viewing this as a problem since she needs to trust Levi to survive. Levi is shut off. While Levi is shut off, Azi is hit with fluffy balls that stick to her. She’s overwhelmed and barely able to move when she sees a horde of plant matter-covered creatures approaching. Azi crawls to Levi and turns her on. As the creature approaches, Levi regains consciousness and destroys it. Levi apologizes for not helping due to being turned off, and Azi admits Levi saved her. Levi states she doesn't want to be shut off, ever, expressing her fear of death.
Our duo are traveling across beautiful plains on their bike. Azi is covered in festering wounds from the bulbs. Residual material is embedded in her skin. Azi dips a bloody shirt into a shallow pond, and fish-like creatures come to eat the dead flesh. She dips her hand in, and they clean her wounds. A large water basin looms in the background, which they approach. Azi ascends the stone structure, reminiscent of something out of a Ghibli film. Azi begins to appreciate the beauty of Vespa, with a light string instrumental crescendoing as she submerges herself in the cool water, trusting the creatures to heal her. On the ground, Levi communicates with a small bug. Azi is healed and questions Levi’s evolution, suggesting she should be “more delicate.” Levi ponders her ability to “join her for a swim.” The two marvel at the evolutionary strangeness, with Levi acknowledged as an equal.
Levi's fear of death soon becomes a reality. Levi and Azi are pushing the bike to obtain its cable to use to cross a giant gorge. Levi writes a song and expresses a wish to pursue her hobbies, such as singing, at a place on the Demeter. Levi and Azi discuss Fiona, the person who programmed Levi, with Levi feeling close to her. Azi compliments Levi’s singing and urges her to continue pursuing her ambitions. The two successfully tether the bike cable across the gorge, but Hollow is seen scouring the edge. As they grapple across, singing the melody from Fiona’s memory, Hollow recognizes the tune and becomes enraged. Hollow scales the cord towards them, and the cord breaks, slamming all three into the side of the cliff. Azi urges Levi to climb. Azi reaches the top first, followed by Levi, but Hollow catches Levi’s legs with telekinesis. “Help me…” Levi says, but a memory of Kamen and Fiona kissing causes Azi to charge Hollow with a spear. As she approaches, Levi is split in two, shattered into minuscule bolts and scraps of metal that rain down over the cliff edge. Azi screams after her, a tear rolling down her cheek. Her partner, a growing consciousness much like an innocent child discovering the sand of a beach and the glory of nature, is murdered.

I was doing some digging around about the meaning of Cryo and it’s “ideal”, and stumbled across a few interesting connections. I am not sure if anyone else has found these connections already (from a quick check) – I tend to only hop on here when I have a crazy theory I want to share. Hopefully I am not rehashing something that's already been covered!
The main theory is that the power of Cryo, like Anemo, is related to Time.
To be more specific, I think Cryo may be the power that creates the "Seeds" that are carried by "the winds of time".
I came across this idea when trying to look into the "ideal" of Cryo.
From what we have seen in the game, all elements are tied to an “ideal”, and each “ideal” is tied to a deeper meaning connected to the world itself. To give some brief examples:

• Anemo – freedom, time and perhaps Death
• Geo – Contracts(perhaps between mortal and divine?) and perhaps history.
• Electro – Eternity and what is eternal, and Change is eternal or constant.
• Dendro – Wisdom, memories and knowledge through experience.
• Hydro – Justice, life and emotion.
• Pyro – War and rebirth and the erasure of memories (as seen from Arlecchino).

From what we know, it seems like the Cryo Archon’s ideal is likely to have been “Love”. So what deeper meaning does “Love” mean and how does it relate to ice or “Cryo”?
And then from there I kind of spiralled!
The main theory here is explained in the first two sections, and the rest of the sections I try and use this theory to explain other mysteries in the game. Those sections might be heavier in speculation.
The Meaning of Cryo
While I'm not sure I have a concrete “meaning” or understanding of Cryo yet, I came across a few interesting themes surrounding the Cryo Element:

• The descriptions of both the Large Cryo Slime and Cryo Abyss Mage mention their protective shields, despite the fact that similar enemies don’t mention this in their description (Geo Slime and other Abyss Mages)
• The Cryo Abyss Mage description also says that their body is vulnerable (hence its need for protection).
• Cryo Hypostasis gameplay has the Hypostasis create a shield while it is healing (protection while vulnerable)
• Tiara of Frost artefact description: “facing fatal flaws. Fatal flaws are born of a fear of death. Fear of death is born of having things and people to care about” (Fatal flaws are the “vunerability” to protect?)
• Tiara of Frost artefact description: “life as weak, and earth blanketed in unending ice” (weakness is a vulnerability – and also I am not sure if the ice is a bad thing here, perhaps the ice was meant to protect the “weak” life?)
• The Spirit Locket Of Boreas description mentions that Andrius let his power seep into the land to “protect” it.
• Childe who is from Shneznaya says “it’s all about family where I am from” (family and love are easy to relate to each other)
• Qiqi Vision Story: Qiqi has a Cryo Vision and apparently before she received it she missed her family.

To summarise, there seems to be themes of protection(perhaps preservation?),family, and vulnerability.
Thematically I can see the ties between these – we love our family(typically) and want to protect them, and the things we protect can be seen as our vulnerability(and/or, we protect things that are vulnerable).
So "love" inspires us to "protect".
Love and it's connection to "protection" is an important part of this theory.
Cryo and Time
There are a few instances in descriptions where both ice/snow/Cryo and time are mentioned together.

• Qiqi Vision story: before receiving her Cryo vision (while she was dying or on the verge of dying), Qiqi wished that time could stop.
• Cryo Hypotasis drop, the Crystalline Bloom, says: “Perhaps it is stagnant time, that never-thawing bosom, that is the essence of this undying flower.”
• Blizzard Strayer artefact set, Frozen Homeland’s Demise, says: “An ancient hourglass with fine powdered snow flowing in it. Even the coldest winter cannot freeze the flow of time. "The cold that descends from the sky can freeze time itself."
  • To me, this might be drawing a distinction between ice and “Cryo”. Like how Hydro and water are not considered the same thing because Hydro is toxic, as seen in the description of Hydro slimes. So normal winters can’t freeze time but perhaps Cryo can?

Furthermore:

• We are able to melt frozen boars in game and when melted, they are completely fine. It seems that they were literally “frozen in time”.
• We also have that quest with Xiangling, where we find Olaf who was frozen by a Cryo Regisvine 300 years ago - and seems to have survived this process unscathed. He effectively time travelled from the past to the future.

So overall, there seems to be a lot of talk about “freezing time”, and it seems like freezing a living organism can preserve them in a way that doesn't kill them (like in real life).
We have seen how Cryo might be related to the idea of “protection” as well, or perhaps preservation?.
So perhaps we can say that the Cryo element seems to be able to "protect" things from the flow of time?
“Seeds of stories, brought by the wind and cultivated by time. Stories brought on the wind will bloom into legends in due time.” - Sundial in Mondstadt related to the God of Time.
In this quote above, it says that “seeds” are brought by the wind/Anemo.
But what are these “seeds”?
While I can’t say exactly what they are, I think that perhaps these “seeds” are at least partially created through the powers of Cryo.
I came to this conclusion after looking at the themes that surround Cryo: love, protection and vulnerability.
These themes, to me, seem to apply perfectly to the concept or function of “seeds”.
A seed tends to need a protective shell, to shield the “vulnerable” parts within.
A seed waits for the correct conditions to sprout, remaining dormant otherwise.
This dormancy can be seen as being “frozen in time”. A seed is effectively “frozen in time” and won’t sprout until the correct conditions are met. This power of protection from time being related to Cryo may be similiar to how the power of Dendro is related to the power of dreams.
Also, remember that when asked about the Cryo Archon, Venti said that “500 years ago, I knew her well.”?
Sure, they are both Archons, but perhaps they were also close because either 1) they both served the God of Time or 2)Cryo Archon is a god of time (perhaps less likely, though).
So the “seeds” frozen in time and/or protected from time, by Cryo, are then carried by the winds of Anemo, to the correct moments that allow them to sprout.
The Love of the Three Moons
This part gets a little more speculative, but fun!
So the three Moon Sisters are suspected to be possible Gods of Time, and also seemed to rule over the Seelie in some capacity.
Love seems related to the fall of the Seelie – as the Seelie seemed to have been forbidden from falling in love with humans. It was after one of the Seelie married a “traveller from afar” that the Seelie fell – some catastrophe struck as a result, soon after this “marriage”.
With the added context that love possibly means or results in the protection from time – that could explain why falling in love with a human was seen as bad. Abusing your powers to protect a human from time sounds bad, for sure.
And maybe, just maybe, the “love” the Seelie had were finite in some way? Which would explain why they couldn’t dish it out to humans freely. Maybe, they had none of this “protection” left over for themselves after giving it away… leaving them to deteriorate and become the lifeforms we see them in today?
In fact, if this is true, then the Seelie gave their love to a “Traveller from afar” which sounds like it could have been an entity similar to the Traveller. The Traveller is said to be a star themselves.
What’s interesting about that is both the Abyss Sibling and the Travellers are stars, and they are possibly very old. In fact, in the We Will Be Reunited quest, the Abyss Sibling tells the Traveller that “I have more than enough time to wait for you, we’ve always had enough time.”
While this seems to be hinting that they have a lot of time, not necessarily immunity from time, it is interesting when you remember that the book Moonlit Bambo Forest says that the Moon Sisters “shared but one love, the stars of daybreak”.
If love is the protection from time, then it could mean that the twins have gained an immunity from the flow of time. Time does not affect them – as they have received the love of the Moon Sisters, who are possibly Gods of Time.
Khaenri’ah, Dainsleif and the Inteyvat
While the pure-blooded Khaenri’ahns are cursed with Immortality, they still seem to be under the effects of time. They don’t seem to be immune.
They seem to still be undergoing some sort of decay – whether it be their memories, mental state, or decaying “from within” (As Chlothar speculates).
HOWEVER – remember how Dainsleif said that he was able to resist the effects of his curse due to the presence of “it”? It was somewhere in the Chasm questline, where he was unsure how the Black Serpent Knights were able to retain some of their humanity without “it”.
Perhaps Dainsleif has also received the “love” of a Seelie/Moon SisteTime god (or whatever the Cryo Archon actually is)?
In fact, now I am wondering if this is also related to the Inteyvat flower, which would harden when In Teyvat, and then return to normal when back in Khaenri’ah.
Khaenri’ah might be located somewhere in the Abyss, and the Abyss seems to have a strange flow of time, after all.
So it might not be too far of a stretch that the Inteyvat flowers are also “protected from time” with this power of love/Cryo until the flower returns to the correct “time” – Khaenri’ah. Though that would also mean that Khaenri’ah is located in a different place in time – in the future or the past, which would be interesting. But probably not impossible from what we have seen in Ei’s second story quest and the Perilous Trails Chasm quest.
Possible Links between Paimon and the Tsaritsa
So there seems to be possible links between the element of Cryo, love, and protection.
The God of Cryo, who is potentially the God of Love and, by extension, potentially the God of Protection…hm.
Remember the “About Yashiori Island” voice lines?
In those voice lines, Paimon claims to be the “god of protection”.
Sure she seems cheeky about it, and was probably joking, but who knows at this point! She might have remembered something subconsciously or this may just be foreshadowing, etc, etc.
Either way, I started digging around to see if I can find any mythological links in real life.
A few interesting things I found:

• Aphrodite, the greek goddess of love, according to some myths, was born from sea foam. And we first met Paimon after we fished her out of the sea.
• Aphrodite seems to be related to the Cherubs (She mothered Eros, who together with its roman equivalent Cupid, influenced the iconography of the Cherubs) and apparently Paimon in the Ars Goetia might have been a Cherub (at least according to Wikipedia).
  
• Paimon in the Ars Goetia could “bestow dignities and lordships”. Genshin Paimon gives people nicknames – but the Tsaritsa bestows “new names” upon her Harbingers. Maybe a coincidence, but you could say that both of them “bestow dignities and lordships”.
  
• Paimon in the Ars Goetia is said to be able to create “visions” (as in dreams) and we do know the Tsaritsa’s Fatui have Delusions, which are fake Visions.
  
• Paimon in the Ars Goetia is also said to have the power of “acquiring and dismissing servant spirits” –perhaps the Fatui Harbingers?
  

I’ve already made a theory previously on this subreddit about the Tsaritsa and the Moon Sisters. So if Paimon is also related to the Seelies and/or Moon Sisters, perhaps these connections between her and the Tsaritsa is not too strange if the theory about Cryo and time are true.
In fact, the goddess Hathor is said to be the Egyptian version of Aphrodite, god of love, and from reading the wikipedia page, Hathor seems very similar to the Goddess of Flowers – who was a Seelie - and the Seelie served the Moon Sisters, who may have been gods of Time.
There isn’t much more for me to say here – I am not saying that Paimon and Tsaritsa are the same person, but just that I find it interesting that there may be some overlaps between the two characters. I can’t say for sure what this overlap means. Maybe Paimon is a fragment of the Tsaritsa, maybe Paimon was a servant of the God of Time along with the Tsaritsa, maybe Paimon is the God of Time and is therefore the Tsaritsa’s boss. Who knows. Just interesting.
Time and the Preservation of Memories
In the Parable of the Lethied Lotus in the Book of Sun and Moon, it says:
"A ship captain searching for the way back to the surface discovered a tribe of people who ate these lotuses. Some crew members stayed in that place. Others rejected that temptation."
In this story, staying where people ate these lotuses is said to be a "temptation". The title of this Parable described the lotuses as "lethied" which is related to the Lethe river of greek mythology, where drinking from it causes you to "forget". In other words, forgetting is a temptation they wanted to avoid.
This is in the same book that mentions the God of Time, and Enkanomiya, where they worshipped the God of Time.
Now, Ganyu, a Cryo character, uses Amos Bow, and the literal translation of this weapon, according to the wiki, is "Determination to Not Forget".
So perhaps this power of "protection" can also protect memories.
Since time causes memories to "fade" (best example, Dainsleif's own faded memory due to his long life) then perhaps this power of time immunity can also be used on memories.
TLDR:
Cryo protects things from time, and those things are then carried by Anemo. Cryo seems to have the ability to freeze things in time (possibly), or in other words, to protect them from the flow of time. The Tsaritsa, as the Cryo Archon, may have a deeper relationship to the God of Time (or she is a god of time – if you think that there are multiple aspects that rule different types of time).
There are also some interesting possible connections between Paimon and the Tsaritsa, which, if they are both related to the god of time, makes sense.
The twins may have also received some sort of protection of time, since they are stars and the Moon sisters loved the stars of daybreak.
Also this might also be related to Dainsleif and his ability to resist his curse somewhat, and Inteyvat flowers.
And this "protection from time" may also be used to preserve more intangible things - like memories.
Discussion/Conclusion
So what does “Love” mean in the world of Teyvat?
In Genshin, the power of Cryo, and therefore the power of love, may be the power to protect things from the flow of time. It protects things from the flow of time, creating a "seed", and that seed stays dormant or "frozen in time" until its the perfect moment for those things to “sprout”.
If true, this calls a lot of things into question.
The Tsaritsa’s plans to possible recreate the world may also link back to this idea of “seeds” – she may blanket the world in snow to make it a “seed” for the next world.
I also think that if this is true, then it is quite poetic that Shneznaya – the land of the Cryo Archon – is the last region in Teyvat we visit (Khaenri’ah probably/possibly not being counted as “in Teyvat” if its located in the Abyss).
Anemo also seems to signify death in some ways (Venti’s Story Quest), and if Cryo is related to the concept of “seeds”, then Cryo represents life or birth.
“Seeds brought on the wind will bloom into legends in due time.”
Anemo is death, and is the wind that carries the seeds, and Cryo is birth, the creation of the seeds.
We started the game in the land of Anemo, of wind, and death – we started our journey in the land of “endings” and, if this theory holds true, then the last place we’ll visit in Teyvat will be the land of Cryo, of ice, seeds, and birth.
We started at the end, and will end at the start.
That is more or less it. I hope you all enjoyed reading my descent into madness! Hopefully not too wordy as I have trouble making things concise and I was getting real tired towards the end of this ha ha. What do you guys think? I would love to hear any thoughts or input, or even corrections if I got some things wrong.

Taken from: https://www.theringer.com/movies/2024/5/21/24161120/greatest-movie-car-chase-scenes-ranked-furiosa-mad-max-saga
In honor of the imminent ‘Furiosa: A Mad Max Saga,’ we’re shifting into high gear to determine the best chase scene in cinema history
By Miles Surrey May 21, 2024, 6:30am EDTGetty Images/Ringer illustration
After wowing audiences with Mad Max: Fury Road, director George Miller returns to the franchise’s post-apocalyptic wastelands for Furiosa, the epic origin story of the eponymous heroine (now played by Anya Taylor-Joy), premiering on Friday. As the follow-up to one of the greatest action films ever made, it’s hard to overstate the hype for Furiosa, and that was before word got out about a showstopping 15-minute sequence that required nearly 200 stuntpeople and took 78 days to shoot. While Furiosa will have its own distinct flavor, as is true of every Mad Max movie, there’s one thing that unites these projects: intense, jaw-dropping scenes of vehicular mayhem. And what better way to honor the franchise than by celebrating what it does best?
Ahead of Furiosa’s release, we’ve put together our definitive ranking of the best car chases in cinema. There weren’t any strict rules in place, other than capping the list at 20—mostly for my own sanity—and limiting every franchise to one entry. (Apologies to Fury Road’s kickass predecessor The Road Warrior.) We also won’t discriminate against scenes that feature motorbikes, so long as cars (and/or trucks) remain part of the equation. As for what, exactly, constitutes a good car chase? Like list making, it’s bound to be subjective, but I tend to gravitate toward two key elements: the skill of the stuntwork on display and the ways in which a filmmaker conveys the action in relation to the story. (Also, the less CGI, the better.) Buckle up, ’cause we’re not wasting any time shifting into high gear.

20. Quantum of Solace (2008)

There have been some memorable car chases in the James Bond franchise: the first sequence featuring the iconic Aston Martin DB5 in Goldfinger, the corkscrew jump in The Man With the Golden Gun, the Lotus Esprit submarine in The Spy Who Loved Me. But I’m going with a somewhat controversial pick here: Quantum of Solace. There are many issues with Quantum of Solace—namely, it was one of the most high-profile blockbusters affected by the 2007-08 writers strike—but its opening scene isn’t one of them. Picking up right where Casino Royale left off, we find Bond (Daniel Craig) evading henchmen through the narrow roads around Italy’s Lake Garda. The frenetic, furious chase mirrors Bond’s sense of anguish after losing Vesper Lynd (Eva Green), the woman he opened his heart to, and his relentless quest for answers. It’s a thrilling tone-setter for Quantum of Solace and one that doesn’t overstay its welcome, capped off by Bond sending his final pursuers flying off a cliff:
If we’re being honest, though, it feels like James Bond has yet to create a franchise-defining car chase. Perhaps that’s a mission the newest 007, whoever it ends up being, can undertake.

19. Mission: Impossible—Rogue Nation (2015)

The Mission: Impossible franchise is no stranger to electrifying chase scenes, the best of which find Tom Cruise’s Ethan Hunt working up his heart rate. When it comes to action behind the wheel, though, Fallout tends to dominate the discussion—even on this very website. But I think the vehicular chase in Rogue Nation is being slept on. What we have is effectively two sequences for the price of one: The first finds Hunt pursuing Ilsa Faust (Rebecca Ferguson) by car through the narrow streets of Casablanca alongside some nefarious henchmen; the second sees him continue the chase outside the city on motorbike. (Adding to the chaos: Hunt had only just been resuscitated, and he’s clearly not all there.) In terms of death-defying stunts for the audience’s entertainment, a helmetless Cruise taking corners like a MotoGP racer is child’s play compared to his other exploits, but the actor’s authentic reaction to scraping his knee on the road underlines that there’s no one else in Hollywood doing it like him:
We’ll be sure to update this ranking if and when Cruise does something even more dangerous down the road, pun unintended.

18. Vanishing Point (1971)

A movie that counts the likes of Steven Spielberg and Quentin Tarantino among its biggest fans, Vanishing Point is the first of a few entries on this ranking that’s essentially one extended car chase. The film stars Barry Newman as Kowalski, a man tasked with delivering a Dodge Challenger T 440 Magnum from Colorado to California while eluding police across four states. One of Kowalski’s most memorable run-ins comes when a guy driving a Jaguar E-Type convertible challenges him to an impromptu race. Incredibly, we’re expected to believe the man in the Jag comes out of this crash in one piece:
Vanishing Point might not boast the impressive production values of other movies on this list, but considering Tarantino would go on to feature a white Challenger in Death Proof, its influence in the car cinema canon is undeniable.

17. Fast Five (2011)

Let’s face it, Fast & Furious has seen better days. Some believe the franchise’s dip in quality coincided with the death of Paul Walker; others are dismayed by the pivot from street racing to absurd feats of superherodom—emphasis on the Dom. Perhaps it’s a bit of both, but the very best movie in the series, Fast Five, manages to strike the perfect balance: It’s a relatively grounded heist thriller that nevertheless takes the franchise to ridiculous new heights. After Dominic Toretto (Vin Diesel) and his crew steal $100 million from a Brazilian kingpin, they drag the entire bank vault holding the money through the streets of Rio de Janeiro, all while being pursued by authorities. It’s a delightfully destructive sequence that does untold damage to Rio’s infrastructure and features some of the most bone-crunching crashes committed to film:
If the Fast franchise is going to break out of its recent slump, it would do well to remember that there’s nothing better than letting its heroes live their lives a quarter mile at a time—no detours to outer space required.

16. The Blues Brothers (1980)

A good car chase isn’t reserved just for action flicks: Comedies can get in on the act, too. In The Blues Brothers, starring the recurring Saturday Night Live characters played by John Belushi and Dan Aykroyd, the beloved bandmates must prevent the foreclosure of the orphanage where they were raised by scrounging together $5,000. Naturally, that’s easier said than done: Along the way, the Blues Brothers draw the attention of neo-Nazis, a country-and-western band, and local police. While The Blues Brothers has amusing gags and musical numbers, its chase sequences with the Brothers behind the wheel of a 1974 Dodge Monaco are what really steal the show—and none are better than a climactic pursuit across Chicago. More than 60 old police cars were used in the film, some of which are wrecked in a comically over-the-top pileup:
The sheer scale of The Blues Brothers’ final set piece is commendable in and of itself—as is the movie’s commitment to treating real-life cars like a bunch of Hot Wheels.

15. Baby Driver (2017)

For good and for ill, Edgar Wright’s movies exude an abundance of style, and Baby Driver is no exception. Baby Driver is centered on a clever gimmick: The action works in tandem with its soundtrack because the film’s protagonist, Baby (Ansel Elgort), suffers from tinnitus and constantly plays music to drown out the ringing. When everything’s clicking into place, Baby Driver feels like a supersized series of music videos, and nothing hits quite like its opening sequence. Baby acts as the getaway driver for a bank robbery while listening to the Jon Spencer Blues Explosion’s “Bellbottoms.” The ensuing chase works around rhythms of the song, as if Baby’s Subaru WRX were the star of its own dance number. Take nothing away from the actual driving, either, which puts the rally car to good use:
Baby Driver’s gimmick stretches a little thin by the end, but it’s hard to deny the crowd-pleasing power of Wright’s film when it’s firing on all cylinders.

14. The Raid 2 (2014)

With a trio of kickass Indonesian martial arts films under his belt, Gareth Evans has established himself as one of the most exciting action directors on the planet—someone who seems most in his element staging positively brutal hand-to-hand combat. In The Raid 2, however, Evans also brought his signature brand of carnage to the road. While there’s some cleverly executed close-quarters fighting within the confines of an SUV, courtesy of Iko Uwais’s hard-hitting protagonist, what really cements this sequence’s greatness are the moments when Evans turns the cars into an extension of the characters’ fists:
This belongs in an entirely new category of combat: car fights. There are so many action scenes in The Raid 2 worth writing home about—the kitchen showdown is an all-timer—but the fact that Evans casually tossed in an unforgettable car chase shows why he’s one of one.

13. The Driver (1978)

I’ll say this for Walter Hill’s The Driver: It sure lives up to its title. In this stripped-down thriller—one where none of the characters have a name—we follow the Driver (Ryan O’Neal), a getaway driver who has become a thorn in the side of the LAPD. In the film’s best scene, we see its taciturn protagonist living up to his reputation. With the Driver behind the wheel of a 1974 Ford Galaxie, a cat-and-mouse game unfolds when a handful of police cars are hot on his tail. What I love about this sequence is the pared-down nature of it all: The Driver outwits the cops as much as he outraces them. (Though, ironically, that wasn’t entirely by design: As Hill later explained, an accident on the last night of shooting meant they had to cobble together what had already been filmed.) Frankly, you’d never know the difference from the finished article:
If the general vibes of The Driver seem familiar, that’s because it was a major inspiration for Nicolas Winding Refn’s Drive, which just so happened to feature an unnamed protagonist (Ryan Gosling) evading police through the streets of Los Angeles.

12. The Bourne Supremacy (2004)

The shaky-cam style of the Bourne franchise isn’t for everyone—just ask John Woo—but credit where it’s due: These movies know how to deliver a good chase scene. (A friendly reminder that The Bourne Legacy is an underrated gem with an awesome motorbike sequence to boot.) But there’s one Bourne chase that stands above the rest: the Moscow getaway in The Bourne Supremacy. After being wounded by the Russian assassin Kirill (Karl Urban), Jason Bourne (Matt Damon) hijacks a taxi, with both the police and Kirill in hot pursuit. This isn’t the kind of sequence that lingers on any one shot; instead, what makes it work is the frenetic nature of the editing, which allows the viewer to feel like they’re in Bourne’s fight-or-flight headspace:
If I’m being honest, I’m usually one of those people who doesn’t like the Bourne movies’ shaky-cam style, but when it’s executed with such craftsmanship, you can’t help but get caught up in its adrenaline-pumping power.

11. The Seven-Ups (1973)

Philip D’Antoni was the producer of two movies featuring Hall of Fame car chases, Bullitt and The French Connection, the latter of which won him an Oscar for Best Picture. And with his lone directorial feature, The Seven-Ups, D’Antoni sought to craft an iconic sequence of his own. The film stars Roy Scheider as NYPD detective Buddy Mannuci (elite Italian American name; I can practically smell the gabagool), who commands a unit handling major felony cases that lead to seven-plus-year prison sentences; that’s why they’re known as the Seven-Ups. Midway through the movie, when one of the team members is killed by two shooters who flee the scene, Buddy chases after them. The 10-minute sequence, which starts in the Upper West Side before moving out of the city, is thrillingly immersive, alternating between close-ups of the characters and wider shots of all the damage they’ve caused. But the chase’s defining moment comes right at the end, when Buddy narrowly avoids a grisly death:
The sequence isn’t quite at the level of Bullitt or The French Connection—very few are—but D’Antoni still manages to leave an unmistakable imprint on the car chase canon.

10. Death Proof (2007)

If you ask Quentin Tarantino, Death Proof, his knowingly trashy tribute to exploitation cinema, is the worst movie he’s ever made. But that doesn’t mean there isn’t a lot to admire about the film, which honors the unsung heroes of Hollywood: stunt performers. The first half of Death Proof follows three female friends who cross paths with Stuntman Mike (Kurt Russell), a misogynistic serial killer who takes them out in his “death-proof” Chevy Nova. Fourteen months later, a group that includes stuntwoman Zoë Bell, playing herself, also lands on Mike’s radar. As Bell and her friends test out a ’70s Challenger, she performs a “ship’s mast” stunt, clinging onto the hood of the car with fastening belts. Unfortunately, when Mike pursues the women, it puts Bell in a precarious situation. Most of the entries on this list celebrate some next-level driving skills, but Death Proof’s inclusion is all about Bell pulling off one of the wildest stunts you’ll ever see. She’s quite literally hanging on for dear life:
If the Academy handed out Oscars to stunt performers—and let’s hope it does happen one day—Bell would’ve won in a landslide.

9. To Live and Die in L.A. (1985)

William Friedkin was already responsible for an all-time great car chase in The French Connection (more on that later), but the filmmaker made a commendable bid to outdo himself with To Live and Die in L.A. In this neo-noir thriller, Secret Service agent Richard Chance (William L. Petersen) is hell-bent on arresting an expert counterfeiter, Rick Masters (Willem Dafoe), who kills Chance’s partner days before his retirement. To capture Masters, Chance and his new partner, John Vukovich (John Pankow), attempt to steal $50,000 from a jewelry buyer for an undercover operation. The sting goes bad when the buyer, who is later revealed to be an undercover FBI agent, is killed and a group of gunmen goes after Chance and Vukovich. It’s a clever inversion of the usual car chase formula—this time, it’s the lawmen running away from the criminals. The outside-the-box thinking extends to the film’s most astonishing stretch, in which Chance evades the gunmen by driving into oncoming traffic:
The fact that Friedkin shot the chase at the end of filming—in case anything disastrous happened to the actors—underscores just how risky the endeavor was. The pulse-pounding results speak for themselves.

8. The Matrix Reloaded (2003)

The Matrix sequels have never been held in high esteem, but I’m ready to live my truth: The Matrix Reloaded fucking rules. (If anyone’s got a problem with this take, file your complaints with the Architect.) What’s more, the film happens to boast the finest action set piece of the franchise: the highway chase. After Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) free the Keymaker (Randall Duk Kim), a program capable of creating shortcuts within the Matrix, they’re pursued by the Twins (Neil and Adrian Rayment). Morpheus once warned that going on the freeway was “suicide,” and it doesn’t take long to see why: The chase draws the attention of several Agents, who repeatedly take over the bodies of other drivers on the road. The scene is the best of both worlds: There’s some incredible stuntwork on display, including when Moss weaves around on a Ducati, and CGI augments some feats of superhuman strength. But the most jaw-dropping aspect of the sequence is how it came together, as the production spent $2.5 million to construct its own highway (!) on California’s Alameda Island. If that weren’t unique enough, I’m pretty sure Reloaded is also the only movie in existence in which a katana takes out an SUV:
The Matrix remains the Wachowskis’ masterpiece, but don’t get it twisted: The filmmakers were still cooking with gas in the sequel.

7. Gone in 60 Seconds (1974)

Size isn’t everything, but for H. B. Halicki, who produced, wrote, directed, and starred in Gone in 60 Seconds, it’s certainly part of the package. The indie action flick follows Maindrian Pace (Halicki), a Los Angeles insurance investigator who has a lucrative side hustle jacking high-end cars. The plot kicks into motion when a South American drug lord enlists Pace to nab 48 cars within five days in exchange for $400,000. Of course, Gone in 60 Seconds is best known for what happens after Pace is caught stealing a 1973 Ford Mustang Mach 1, when he leads police on a chase that lasts a whopping 40 minutes. (More than 90 cars were destroyed in the process.) Halicki, for his part, did all the driving himself, including a spectacular jump off a makeshift ramp of crashed cars:
While Halicki wound up making a few more indies after Gone in 60 Seconds, he died in an accident on the set of its sequel. His legacy as a do-it-all daredevil, however, lives on.

6. Terminator 2: Judgment Day (1991)

Long before James Cameron immersed himself in the world of Pandora, he was a pioneer of state-of-the-art visual effects. Case in point: Terminator 2: Judgment Day is credited for having the first CGI character in a blockbuster, the T-1000 (Robert Patrick), a killing machine composed of a futuristic liquid metal. But Cameron also understood that the CGI of that era shouldn’t be the main attraction: It worked best as a complement to the practical effects, as seen in Judgment Day’s epic viaduct chase. When the T-1000 tracks down a young John Connor (Edward Furlong) in a shopping mall, he’s saved at the last minute by the Terminator (Arnold Schwarzenegger), giving John a chance to escape on his dirt bike. As the T-1000 gives chase, the David and Goliath vibes between man and machine are further epitomized by the T-1000’s commandeering of a truck. The sequence already has a terrifying sense of urgency, but it hits another level when the T-1000 crashes through the viaduct like the Kool-Aid Man:
Big Jim is still revolutionizing what can be achieved with visual effects in the Avatar franchise, and while I cherish those movies, nothing beats his old-school showmanship.

5. Duel (1971)

The feature-length debut of Steven Spielberg—perhaps you’ve heard of him—the TV movie Duel is essentially one extended chase sequence between salesman David Mann (Dennis Weaver) and a sinister trucker determined to drive him off the road. I’ve attached a clip from the ending of the film, but that doesn’t do Duel justice. What cements this movie’s greatness is how it sustains an unbearable level of tension across its 90-minute running time—with a budget under $500,000, no less. Spielberg’s masterstroke is never once showing us the other driver, anthropomorphizing the truck itself as a monster. (You can see a lot of similarities with how he would build suspense in Jaws.) When Mann finally gets the upper hand, tricking his adversary into driving off a cliff, it feels like you can breathe again:
Spielberg would move on to bigger and better things after Duel, but considering how much the director accomplished with so little, you can’t help but wonder what else he could conjure up with limited resources.

4. Mad Max: Fury Road (2015)

Like Duel, Fury Road is basically one long car chase—the difference is Miller got to work with a blockbuster budget, and made every cent of it count. It’s hard to pick a single standout sequence in Fury Road, but if I had to choose, I’d go with the first attack on the War Rig after Furiosa (Charlize Theron) flees with the wives of Immortan Joe (Hugh Keays-Byrne). Here’s why: Think back to when you saw Fury Road for the first time, before you fully grasped the vehicular carnage that was in store. And then stuff like this kept happening:
To quote Steven Soderbergh’s thoughts on Fury Road: “I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.” Whether or not Miller manages to one-up the action in Furiosa, the director is already in the pantheon.

3. The French Connection (1971)

We return to the Friedkin-verse for what may be his best film, The French Connection, the crime thriller based on Robin Moore’s 1969 nonfiction book of the same name. The story concerns two NYPD detectives, Jimmy “Popeye” Doyle (Gene Hackman) and Buddy “Cloudy” Russo (Roy Scheider), and their tireless pursuit of a French heroin smuggler. But while there’s plenty to admire about how The French Connection illustrates the thin line between police and criminals, its greatest claim to fame is its car chase. After Popeye narrowly survives a sniper attack, he goes after the shooter, who escapes on an elevated train. The ensuing sequence is true daredevil filmmaking that Friedkin shot without permits, leading to real crashes with New Yorkers that made the final cut. But Friedkin’s finest touch was mounting a camera to the front of the car, making the audience feel like they’re part of the action:
My Ringer colleague Justin Sayles believes The French Connection’s chase should’ve landed at no. 1, and I’m sure many folks will agree with him. Being the only film on this list to win Best Picture, however, is a solid consolation prize.

2. Bullitt (1968)

When it comes to modern car chases, all roads lead back to Bullitt. A Dad Cinema classic, the film stars Steve McQueen as Frank Bullitt, a San Francisco detective who pursues a group of mobsters after a key witness is killed in protective custody. In his search for answers, Bullitt realizes he’s being tailed by a couple of hitmen, and then turns the tables on them. From there, the chase is on. Aside from McQueen doing most of his own stunts behind the wheel of a Ford Mustang GT 390 Fastback, what’s so impressive about the sequence is how timeless it is. Even the little imperfections, like hubcaps repeatedly coming off the wheels, work to the film’s advantage, stressing just how much these drivers are living on a razor’s edge. It’s been more than 50 years since Bullitt revolutionized the car chase, and yet few movies since have felt like they’re pushing the envelope to such an exhilarating degree:
That the car driven by McQueen was recently sold at auction for $3.74 million, a then-record price for a Mustang, underlines Bullitt’s enduring legacy.

1. Ronin (1998)

“If I’m going to do a car chase,” filmmaker John Frankenheimer said in an interview with the American Society of Cinematographers, “I’m going to do a car chase that’s going to make somebody think about whether or not they want to do another one!” Boy, did he ever. In Frankenheimer’s late-career masterpiece, Ronin, the director actually incorporated several chases, but it’s the climactic sequence that stands alone as the greatest ever filmed. The movie concerns an international group of mercenaries who are hired to steal a mysterious briefcase; a series of double-crosses and double-bluffs ensue. But for the final chase, all you need to know is that Sam (Robert De Niro), a mercenary with ties to the CIA, is in pursuit of Deirdre (Natascha McElhone), an IRA operative in possession of the case. Winding through the streets and tunnels of Paris, what’s most striking is just how fluid it all feels. You’re completely engrossed in the chase’s forward momentum, captured from every conceivable angle; a symphony of controlled chaos. The driving styles even reflect the characters: Deirdre is reckless and impulsive, while Sam remains calm and controlled.
There are many worthy car chases in this ranking, but in my view, Ronin takes pole position. And while I can’t imagine a movie ever topping what Frankenheimer achieved, I’d love nothing more than to be proved wrong.

Last night was a crazy ensemble of mystery, magic, lively characters, pure luxury high class dreaming, attention to detail you normally only see in the fanciest of places! And it all started very normal. Let's dive into the dream space!
I am standing on a platform at train station Haarlem Centraal, Netherlands. Trains came and went. When I look around, I see people standing, waiting to catch the next train. Looking up, a digital sign said: “Groningen”. The next train went to Groningen, it actually sounds pretty nice, so I wanted to go there.
As I'm reaching into my left pocket, I notice I have my phone with me. I turned it on, and it was open on the Contacts app. On the top of the list, there was a peculiar person I never heard of before: Ben. I decided to give Ben a call.
A robotic voice made itself audible on the speaker. The robotic voice said: “Hi, I'm Ben! A dream AI. I can change any dream for you just the way you like it.”
“Anything?”, I ask. “We do anything for our customers. Your deepest desires, your wildest wishes and your greatest adventures come true. With Ben, you are 100% in control”.
Eager to test that theory, realizing as I was getting lucid — I'm not just anybody! I'm not going to stand here and wait for public transport like normal citizens do! I want a private train!
And so I speak my wishes in a clear English voice to Ben on my phone. No reply. Ben wasn't saying a word.
But something is changing… Looking up at the sign, it starts to flicker, as if someone is hacking into the sign in my dream, and quickly, the sign updated, saying: “Do not board — Private train”.
Not long after, I hear the train rolling into view — and my dragons — was it a marvel to behold, easily 100 cars long. The entire exterior is a silvery white train with red stripes on it. The red stripes are made from precisely cut ruby that is so thin and so flat that it surprises me it doesn't chip or crack. Surrounding the ruby stripes was chrome lining that holds everything together.
It looks shiny and beautiful, modern yet classical, drawing its inspiration from late 80s diners in the United States, along with Sci-fi elements from “Snowpiercer” and “Hunger Games — Ballad of Songbirds and Snakes”.
What really strikes me at this point is that, this all feels man-made. Engineered. My fantasy doesn't extend to these exquisite tastes without much research beforehand. And yet, that initial fear of the unknown made it all the more tantalizing to step in and roll the fast-lane of the dream world.
The car at the front opens its door, and to my surprise, nobody of the crowd steps in, automatically obeying what the sign says. In a split second, Ben had changed the normal aesthetic of a public train station into a capitalist class-divided private railroad for the ultra-rich to get their own private trains. In real life I'd hate this, but now I couldn't care less!
I got inside the train at the front, just before the conductors' car. The first cabin is relatively simple. It has a few chairs, tables that's it. Nothing too shabby. Each car has the same silvery white colour as the exterior, separated by red doors, mimicking the ruby stripes.
For the first time since my command, the AI spoke again: it said the train would be departing soon, but that I'm allowed to explore the train as I wish.
So, I go into the next car — and this one is a freaking tennis court! It was absolutely insane. There even is a small place for people to watch the game!
I walk into the next car — this seems to be a little restaurant, and quickly becoming my favourite car!
Stockpiles of candy and snacks and everything laid for people to grab for free!
There are Maltesers, Snickers, Bounty, and variations of it all!
Sitting on the floor (as the cabin where the candy was held was quite low), I start munching on everything. And I mean, everything!
I started eating the whole supply, there is even white Maltesers, and oh my god, they tasted so good.
Throughout this feast, I keep thinking of how grateful I am that it feels so real, the taste, the crunch, the feeling of getting full… My synapses are firing like crazy at this point to make this taste so real.
After the entire bar is emptied, and I feel almost like puking, I walk into the next car, this one is a literal petting zoo! It has a cow behind a small fence, and some chicken above in a cage.
It was an absolute monster of a train, and it just kept going, and going, and going! Everything stayed so consistent. I could always find my way back to the first cabin and I could even look at the screens inside the train and see how fast we are going.
I could look outside and see biomes consistent of that with the Netherlands… But something happened along the way. The more and more I drove towards Groningen. I started noticing that there are other people around, too.
First just a few, but later on, it starts to become more and more. And I began to ask myself: Where do these people come from?
This was intense and at this point I am a little annoyed because they weren't supposed to get on. We didn't stop in front of a station, so they couldn't have got on in the first place.
At some point, I even see my family. My mom and my sister… I ask my mom: “how did you get in?”
And she tells me that she doesn't know, but she is very happy to be here, there are so many things to do, and it is so special to spend time together with us on this train. I actually feel a little emphatic. Yeah, this could be special, let's ride it out!
I walked also towards other people, strangers… They say they are lucid dreamers and that they wanted the private train. But for some reason, the private train, was the same train for all of us.
I guess the AI made a mistake and thought that this train was the private train and just gave it to every lucid dreamer out there. I don't know, but the whole thing felt almost spiritual because all of these people, felt real. It added life to the scene. I see people hanging out in the restaurant car — just talking to each other about completely random subjects, relaxing. You know, just taking a cup of coffee or something. The train, the engineering, the people, everything was alive. It was so real.
It is even more alive than that. To each other and to me, these people were strangers at first. But riding this out together, starts to feel like days as time begins to drift. We began closing in on each other, some strangers became friends, and the friend groups started doing things together having activities. And the kids started patting the cow together.
Couple of more days in, people start setting up shops together, and they start making their own things. From just a means of luxury transportation it soon shifted into a meters long artist hub. And slowly, but surely, as the days pass, it becomes a city on rails. There are kids playing and everyone knows each other.
It is a crazy experience to see all this unfold, a life intermingled and yet so different all having their own characters and their own clothing, their own movements. Everything. Just… oh… it fell into place in this one thing.
And then I start to feel that I am going to wake up… Being so attached to this place. I don't want to just leave without saying goodbye. So, I walk to the front of the train, to the conductor. Strangely enough, no human is driving the train. In front of me there is a desk with nothing but a single microphone and a button. I activate the microphone to make an announcement.
A jingle starts playing, the same one as in Snowpiercer. I started having my speech, and I remember exactly what I said. It was that I was very happy to be here, and that sadly, it is my time to go, and I hoped that everyone remembers everything.
I let go of the mic and I walk back into the other cars, by now, things have so heavily evolved we have plants growing in every car, mostly food to eat.
But I didn't quite hear anything on the speakers when I made the announcement, so I ask random people if they heard the passenger announcement, but they all reply: “no we didn't hear anything”. So I guess that the microphone didn't work.
I then walk up to my mom. She is playing around with my nephews and nieces in a makeshift playground someone made. I tell her that I really loved everything about it and I hope that she remembers everything, but I am afraid that she won't remember anything. She asked if I will remember anything, and my answer was yes.
I explain to them that them forgetting, but me remembering is some kind of protection mechanism. To make sure that no strange, spiritual secrets about mysterious worlds reveal themselves. Yet that these people like my mum can still feel the positive vibes. Still, a really strange thing to say, but it was how I interpreted it at the time.
I walk back into the other coaches and say goodbye to a few other people that mattered the most to me here since there was no way I could say goodbye to everyone.
I woke up with full closure.
Once I got up, I realized I hit snooze on my alarm clock for maybe about 20 minutes. Which means that this whole thing happened in just 20 minutes. Possibly even less because I wouldn't sleep right away.
And that felt kind of crazy.

To note, this is a continuation of the sagas I wrote that took place after the Cell Saga. The two sagas were written with inspiration taken from MCU Peter Parker's arcs in Far from Home and No Way Home. The goal was to develop Son Gohan into a proper lead for the show. If you'd like to check them out, here are the links!
Bojack (Far From Home) Saga: https://www.reddit.com/fixingmovies/s/sK5zOnJ0oU
Broly (No Way Home) Saga: https://www.reddit.com/fixingmovies/s/R3sGOqdbIv
There are many things I find wrong in the Buu saga:

1. Goku coming back: This derails the narrative tremendously as he snatches back the torch from Gohan. He's going to play a role, but he will stay dead.
2. Gohan's writing: In canon, we ended up with a rusty, goofy, badly written character who lost all the development from the previous sagas. He became a useless disappointment and did not uphold his role as a protector of the earth. This won't go anywhere near that direction.
3. SSJ3 and fusions: These elements were unnecessary as they did nothing to solve the plot and only provided fluff. This can be introduced in Super, but that's another story.
4. Goten and Trunks SSJ: I wasn't a fan of how they easily transformed, treating it as an easy power-up. Here, it will be earned.

What I want to do here is combine the Buu saga with Fusion Reborn. For that movie, there are tons of elements at play that can be used to make the grand finale of Dragon Ball Z, more grand. The goal here is to increase the stakes, trim all the unnecessary fat, give everyone a chance to shine, and keep the main focus on Gohan. I also want to replace Buu with Janemba, as I find him much more threatening due to his unique abilities which would be perfect to challenge Gohan. It's also here that we avoid the rinse-and-repeat problem that came with Buu and his many forms.

Without further ado, here is the...... Janemba Saga!

Seven years have passed since the climactic battle against Broly. Gohan, now a young adult, has diligently pursued a delicate balance between his studies and training. During this time, he has honed his Super Saiyan 2 form and significantly elevated his combat skills. However, he deliberately restrains his power, refusing to succumb to the depths of his inner rage. Gohan believes that his technical prowess alone will suffice, opting to suppress the primal fury within him. Despite his reservations, Gohan attends a prestigious private school on an academic scholarship, alongside his steadfast companion Videl and their circle of friends. Gohan has embraced the responsibility of preserving peace on Earth as a valiant hero, adopting the mantle of Saiyaman. His suit has undergone a sleek redesign, shedding the theatrical poses in favor of a more streamlined appearance. Functioning as a dynamic duo reminiscent of Superman and Batman, Gohan and Videl tackle the city's crime wave together. Videl, having mastered her ki abilities under the tutelage of Piccolo, has grown stronger over the years. Glimpses of their everyday lives reveal the struggles of Gohan as he endeavors to balance the demands of school, training, and personal relationships. Amidst the challenges, he harbors a subtle resentment towards his duty, as it often encroaches upon his cherished personal time. Nevertheless, Gohan persists, fueled by his unwavering determination to live up to his father's legacy.
However, the tranquil facade is shattered when a harrowing turn of events unfolds. The narrative transitions to an otherworldly realm, distinctly separate from Earth. A mysterious figure cloaked in darkness materializes, none other than the malevolent wizard Babidi. Harnessing the unholy power of dark magic, Babidi establishes a sinister connection with his loyal minion Dabura, the King of the Demon Realm. United in their nefarious purpose, they orchestrate an audacious invasion of Otherworld, intent on freeing the formidable demon Janemba. Ages ago, Janemba had been sealed away in this celestial realm by the Supreme Kais. Babidi's malevolent ambition revolves around shrouding the universe in eternal darkness. To achieve this nightmarish vision, he plans to infect the denizens of Earth using the insidious Majin spell, thereby expanding his dominion across countless planets.
In the midst of this burgeoning chaos, Gohan, disguised as Saiyaman, finds himself investigating a peculiar incident involving the possession of one of his dearest friends. Videl, resolute and fearless, engages in a fierce battle against the malevolent puppeteer controlling Sharpner. With unwavering confidence, she urges Gohan to let her confront the threat alone. Sharpner, his strength unnaturally augmented, puts up a formidable resistance, but Videl's experience enables her to subdue him without resorting to fatal measures. As Sharpner awakens from his trance, Gohan seeks answers regarding the enigmatic force that had seized control of his friend. Sharpner reveals that a voice called Babidi had whispered malevolent commands into his mind. Armed with this critical information, Gohan summons Vegeta and Piccolo to join him in unraveling the unfolding crisis, embarking on a journey towards the epicenter of the ominous power emanating from a series of potent and wicked ki signatures, ultimately leading them to Babidi and Dabura.
Meanwhile, Earth becomes a battleground, besieged by an onslaught of resurrected zombies, soldiers, and former villains who once terrorized its populace. Though the trio finds themselves torn between aiding their beleaguered planet and confronting the imminent threat directly before them, they know their immediate priority lies in thwarting Babidi's scheme. Distracting them with his grandiose monologue, Babidi probes their minds, seeking susceptible individuals to manipulate. Initially targeting Vegeta, Babidi redirects his attention toward Piccolo, sensing his inherent duality as a being born of both good and evil. With a combination of Babidi's insidious spell and the lingering malevolence of Piccolo Daimao, the Namekian warrior struggles to resist the overwhelming influence. His powers surge exponentially beyond their previous limitations, clouding his judgment and driving him to confront his former student, Gohan. Amidst the shock of this unforeseen twist, Gohan assumes the responsibility of awakening Piccolo from his trance-like state, determined to restore his mentor's clarity. As the battle rages on, they sense a tremor that reverberates throughout the planet, an unmistakable ki signature brimming with icy coldness, signifying the presence of a singular entity—Janemba.
Bracing himself for the impending clash with this malevolent force, Gohan prepares to face Janemba head-on, while Piccolo embarks on a personal mission to neutralize Babidi. Meanwhile, Vegeta remains locked in a fierce struggle against Dabura, the Prince of Saiyans confronting the King of the Demon Realm. The confrontation unfolds with brutal intensity, and Vegeta finds himself teetering on the edge of defeat. Sensing his adversary's advantage, Dabura unleashes a legion of demons to tip the scales further in his favor. Pushed to his limits, Vegeta fights valiantly, but the odds appear insurmountable. Dabura, consumed by arrogance, revels in his imminent triumph, announcing his intention to unleash the full might of the demon horde upon Earth. Faced with the dire consequences of such a cataclysm, Vegeta musters every ounce of desperation within him. In a moment of self-sacrifice, he unleashes a devastating attack upon Dabura and his minions. The resulting explosion weakens Babidi's forces, repels the encroaching Demon Realm, and safeguards their dimension from untold chaos and devastation.
(Note: I wanted to keep Vegeta's sacrifice but make it matter and count. In canon, it didn't stop Buu, and he sent himself into cold oblivion on a lie. Here, he makes a difference in the long run and has a definitive redemptive moment. )
Startled by the sudden disappearance of Vegeta's powerful ki, Trunks defies the protests of his comrades on the Lookout and rushes towards the chaotic battleground. His heart pounds with trepidation as he races through the smoke-filled air, only to be confronted with the lifeless body of his father lying motionless on the ground. Overwhelmed by a torrent of despair and seething rage, Trunks' trembling hands reach out to shake his father awake, his desperate pleas echoing through the desolate landscape. But his efforts prove futile, and a profound sense of loss engulfs him.
In the midst of this heart-wrenching moment, a surge of raw energy courses through Trunks' veins, igniting a transformation that surpasses the boundaries of his mortal self. Radiating an aura of vibrant golden light, Trunks ascends to the legendary state of the Super Saiyan. His eyes ablaze with determination and fury, he is now ready to face the battle that lies ahead.The scene shifts, revealing the remaining Z-Fighters locked in a perilous struggle against hordes of relentless zombies. Fatigue weighs heavily upon their weary bodies as they fend off the relentless onslaught. Suddenly, a streak of intense power streaks across the sky, and Trunks descends before his comrades, newly transformed and brimming with indomitable strength. A burst of energy erupts from his fingertips, shattering a ki blast launched by one of the zombies, diverting it harmlessly away. In the eyes of his adversaries, astonishment mingles with mockery as they behold the sight of a mere child standing before them.Unfazed by their taunting laughter, Trunks addresses his comrades with unwavering resolve. He declares that he will shoulder the burden of the battle, vowing that not a single life will be lost on this day. With unparalleled speed and precision, he charges towards the encroaching horde, obliterating each zombie with astonishing ease. Their forces crumble beneath the might of his wrath, and the battlefield is transformed into a graveyard of defeated foes.As the last of the zombies falls, Trunks relinquishes his Super Saiyan form, his energy spent and body drained. Collapsing to the ground, he succumbs to exhaustion, his breathing ragged and labored. In this moment of vulnerability, Yamcha, recognizing the young warrior's valor, rushes to his side and gently lifts him from the battlefield, cradling his battered form with utmost care.
(Note: Kid Trunks' transformation is a direct reference to when Future Trunks found Gohan dead after the battle with the androids, and then he transformed. )
While this tumultuous event unfolded, the responsibility of safeguarding the Lookout fell upon the young shoulders of Goten. As time passed, a sudden intrusion disrupted the tranquility of the platform, as a malevolent henchman, infused with the dark power of King Cold, materialized before him. Though momentarily shaken, Goten summoned his courage and engaged in a valiant struggle against his formidable adversary.Initially, it appeared that Goten held his ground admirably, skillfully countering the attacks launched by the nefarious duo of Salza and Dore. However, their sinister coordination gradually began to overpower the young warrior. In a devastating display of force, Salza executed a malicious kick that sent Goten hurtling towards the precipice of the Lookout, teetering on the brink of unconsciousness.
Witnessing her son's battered and vulnerable state, Chi-Chi, consumed by a mixture of horror and fury, lunged at Salza in a desperate attempt to defend her child. Yet, her efforts proved futile as Salza callously seized her by the throat, mercilessly constricting the life from her. From his weakened position, Goten, wide-eyed and mouth agape, struggled to remain conscious, his mind besieged by the conflicting emotions of impending death and the weight of disappointment.
In that critical moment, he closed his eyes, his teeth sinking into his lip until blood stained his mouth. His trembling hands clenched into tight fists. And then, something within him snapped, unleashing a primal force that lay dormant within.Goten vanished, replaced by an embodiment of unbridled rage. Transformed into a Super Saiyan, his furious aura radiated with an intensity that defied comprehension. With a surge of unrestrained power, he propelled himself towards Salza, obliterating his malevolent foe with a devastating blast that eradicated him from existence. Undeterred by the remaining henchmen who sought to avenge their fallen comrade, Goten engaged them with a newfound ferocity.In a breathtaking display of combat prowess, it took mere moments for Goten to dispatch his adversaries, consigning them to the depths of the afterlife. Unaware of his mother's watchful gaze, Chi-Chi bore witness to the astonishing transformation of her once-innocent son, her heart filled with awe at the unfathomable power he now wielded.
(Note: This is a reference to when Superman had attacked Zod for attacking Martha in Man of Steel. With this, Goten is able to break out of his shell and experience some development. I also did not want Chi-Chi to die, but to have it be close. This way, she can witness firsthand her son fighting to avenge her and realizing that his saiyan blood kicked in to save them all, which would lead to some development towards her accepting that they have the natural power to fight, but also protect. )
Simultaneously, amidst the chaos, Piccolo found himself embroiled in a fierce battle of magic. His objective was to shatter the impenetrable barrier erected by his adversary, Babidi, to halt the relentless proliferation of Majin-infused beings. The odds were stacked against him, but with unwavering determination, Piccolo summoned the strength to rupture the barrier, ultimately delivering a fatal blow to Babidi. In doing so, he succeeded in halting the insidious spread of the Majin curse.Meanwhile, Gohan, driven by an overwhelming surge of power in his Super Saiyan 2 form, charged headlong at the formidable Fat Janemba, intent on swiftly ending the confrontation. Displaying remarkable valor, Gohan engaged his adversary with all his might, momentarily gaining the upper hand in fleeting bursts of fury. However, Janemba's energy continued to surge unabated, gradually overpowering Gohan and relegating him to a defensive stance.With the battle reaching its climax, Janemba unleashed a devastating onslaught aimed at obliterating the planet. In a desperate bid to protect all that he held dear, Gohan fearlessly interposed himself between Janemba's lethal assault and the world, extending his arms wide as he summoned the last vestiges of his ki to create a resolute energy shield. The technique demanded one final act of defiance, compelling Gohan to redirect the unleashed energy back towards Janemba, propelling the malevolent entity backward and teetering on the precipice of annihilation. Yet, the maneuver exacted a heavy toll on Gohan, leaving him grievously injured and drained of consciousness, hurtling through the sky and crashing deep into the untamed wilderness.
(Note: This maneuver is a mix of what Gohan did against Broly in Movie 10, and what Future Gohan did in his last battle against the androids.)
Subsequently, Supreme Kai, recognizing the dire condition of the young warrior, transported Gohan to the realm of the Kais. As Gohan gradually regained consciousness, he found himself surrounded by the presence of Supreme Kai, Kibito, and his father, Son Goku. Unbeknownst to Gohan, while the realms beyond had been engulfed in pandemonium, Goku had valiantly sought to subdue numerous formidable adversaries, most notably Broly. Upon learning of Gohan's presence on that distant planet, Goku implored for the opportunity to visit his son, a request that was granted amidst the bittersweet reunion.During their heartfelt meeting, they shared the weight of overseeing the turmoil ravaging Earth, realizing that Janemba still lingered, amassing the remnants of malevolent ki left unvanquished. Panic washed over Gohan as he urgently expressed his need to return to Earth, but his pleas were met with cautionary words from his loved ones. They acknowledged his unpreparedness to face Janemba anew, warning of the potential consequences should he engage the foe prematurely. Supreme Kai disclosed his true intention in bringing Gohan to this realm—to unlock the dormant power lying dormant within him. However, the process demanded a profound reconciliation of Gohan's dual nature as both human and Saiyan. To initiate this transformative ritual, Gohan would be immersed in a meditative trance within the sacred confines of a cascading waterfall, which would serve as a mirror reflecting his true self. Only then would he embark upon the arduous journey of unlocking his latent potential, fully aware that failure could result in dire consequences, even death.
Nervously, Gohan steeled himself for the imminent trial, drawing strength from the unwavering support of his father. With resolute determination, he approached the cascading waterfall, where Supreme Kai initiated the trance, enveloping Gohan in an ethereal aura of introspection.As the ritual commenced, Gohan's gaze fixated grimly upon vivid recollections of his past battles, struggling to reconcile the moments when he had succumbed to his own wrath. Before long, a projection materialized, representing his suppressed Saiyan essence—a separate entity demanding to be acknowledged. A tumultuous clash ensued between the two facets of Gohan's being, with the young warrior faltering in his attempts to gain the upper hand, for each surge of anger only fueled his other self. Finally, a profound realization washed over Gohan, piercing through the haze of conflict. He ceased resisting and, instead, extended a hand of acceptance and understanding to his Saiyan counterpart, embracing the essence of his true nature. In that transformative instant, the boundaries dissolved, merging into a harmonious unity. Gohan's eyes fluttered open as he awakened from the trance, reborn in his newfound Ultimate Form, his essence finally whole and indomitable.
(Note: Yes, this is a direct reference to Naruto obtaining true mastery of his nine tails form in Shippuden. I did not like Gohan's canon mystic ritual because it did not feel earned. He just sat around for a long time doing nothing and gained nothing from it. I wanted to fix that. So here, he went through a more direct ritual at the risk of death to be able to unlock his true abilities. )
In the midst of these events, Trunks and Goten find themselves under the tutelage of Piccolo within the formidable Hyperbolic Time Chamber. News reaches Piccolo that Gohan is undergoing a transformative process to unlock his latent potential, but the looming return of Janemba threatens to disrupt their plans. Exiting the chamber, Trunks and Goten emerge stronger than ever, having mastered their Super Saiyan forms and honed their teamwork to near perfection, compensating for their inherent power limitations.As Janemba crosses paths with them, the clash erupts in a spectacular display of martial prowess. Individually, they stand little chance against the overwhelming might of Janemba, but when united, a different narrative unfolds. Their combined efforts aim to sustain the battle long enough, providing Gohan with the precious time he needs to complete his ritual. Piccolo assumes leadership, valiantly holding his ground, although it becomes increasingly evident that Janemba possesses a distinct advantage. Piccolo strategically diverts Janemba's attention, creating openings for Goten and Trunks to launch coordinated assaults that vex their adversary, even if their impact is minimal. Nonetheless, every second counts.
In a fateful turn of events, Janemba unleashes an assault that overwhelms Piccolo, incapacitating him and leaving only Goten and Trunks to face the malevolent entity. Swift as a phantom, Janemba materializes in front of Trunks, delivering a devastating blow to his abdomen, leaving Goten as the lone defender. Standing tall, Goten defiantly assumes a battle stance, mustering his courage. However, before Janemba can unleash a devastating attack upon him, an unknown figure delivers a powerful kick to Janemba's head, hurtling him towards the distant mountains.
The camera pans, revealing the figure to be none other than Gohan, resplendent in his newfound form.
(Note: This entrance directly mirrors that of Future Gohan when he was about to begin his final battle against the Androids!)
A wave of elation washes over Goten as he beholds the return of his beloved elder brother, while Trunks and Piccolo visibly exhale with relief. Gohan and Piccolo exchange a brief but meaningful exchange, Gohan acknowledging his newfound strength while Piccolo recognizes that Gohan has ascended to an entirely different echelon. Janemba regains his footing, reemerging before them, demanding their attention and focus. Gohan asserts that he will confront Janemba directly, urging the others to evacuate. Though reluctant, Piccolo and the young warriors comply, dispersing to various parts of the world to address the chaos that plagues their surroundings.
With an air of fury, Janemba charges at Gohan, his fist extended menacingly. Yet Gohan intercepts the attack, seizing Janemba's fist in a vice-like grip, and in a flash of teleportation, they are transported to the dreaded realm of H.F.I.L. (Home For Infinite Losers).
(Note: I have Gohan teleport Janemba because at least this way their battle will not damage Earth. Also we will assume Gohan has figured out some sort of Instant Transmission movement like Goku.)
The eyes of Earth's denizens, the Kais, and the denizens of the Otherworld are fixated on this pivotal moment, the culmination of a battle that will determine the fate of the universe. And so, the clash commences, a cataclysmic struggle that echoes through the very fabric of existence.
In a breathtaking display of power, Gohan initially dominates the battle, effortlessly overpowering Janemba with his newfound might. However, the tables turn when Janemba unveils unexpected abilities: space-time manipulation and a formidable sword. Gohan is caught off guard, unsure of how to counter such unorthodox tactics. Desperation and frustration consume him, causing his control over his own power to slip away.Amidst the chaos, Gohan experiences a moment of revelation, a surge of understanding regarding his opponent's abilities. He realizes that in order to anticipate Janemba's next move, he must heighten his senses by channeling his ki, allowing for precise timing and swift reactions. With this newfound clarity, Gohan regains his composure, closing his eyes and taking a deep breath. Seizing an opportunity, Janemba materializes before him, poised to strike with his sword. Yet, in a stunning display of strength, Gohan catches the blade with both hands, shattering it into pieces.
The tide of the battle begins to shift, albeit slightly, in Gohan's favor. Frustrated and bewildered, Janemba exclaims, "Just what...are you?!" Gohan responds with unwavering resolve, proclaiming, "I am the hope of the universe. I am the answer to all living things that cry out for peace. I am the protector of the innocent. I am the light in the darkness. I am truth. Ally to good! Nightmare to you!"
(Note: I'm taking Goku's dubbed speech against Frieza and repurposing it for Gohan. As he's inherently more the justice-driven hero archetype rather than the fighting maniac that is Goku, it makes more sense. We'll just assume Goku gave Frieza the manga version of his speech. This is also the most pivotal moment of Gohan's journey as he comes to terms with being a protector. Throughout the show, he's been struggling between his desire to be a scholar and his responsibility to be a hero. That dubbed speech is exactly the moment that Gohan's arc comes full circle. Here, he finally embraces what he was always meant to be..... the hero.)
With renewed determination, Gohan launches various assaults in a bid to defeat his formidable adversary. However, his attacks fail to inflict lasting damage, and Gohan himself begins to exhaust his ki. It is then that he realizes the true nature of Janemba's existence—he is an embodiment of pure evil ki, unlike any opponent Gohan has faced before. A desperate plan takes shape in Gohan's mind. Mentally reaching out to his friends and even Videl, he calls upon them to gather their ki, reminiscent of the Spirit Bomb technique. Initially, only the Z-Fighters respond, but their combined energy proves insufficient.As Gohan valiantly defends against Janemba's onslaught, he mentally pleads with the people of Earth to lend their aid. Uncertainty and doubt cast a shadow over the crowd until Hercule steps forward, berating them for refusing to support the man who once saved them during the Cell Games. Revealing the truth of Gohan's identity as the Delivery Boy turned hero, the tide of public opinion shifts. People extend their hands, offering their energy to their savior. Shocked by the sudden turn of events, Gohan is relieved by the surge of ki coursing through him, providing a momentary opening to kick Janemba away. The collective assistance grants Gohan a substantial reservoir of energy, which he then summons forth, infusing it with the very essence of his soul—a daring and perilous maneuver.
Driven to his breaking point, a furious Janemba ascends into the sky, conjuring a colossal sphere of malevolent ki capable of obliterating the entire universe. Gohan remains calm, his gaze fixed upon the impending cataclysm. With unwavering resolve, he declares, "This is the end for you, Janemba." Closing his eyes, Gohan raises his left hand above his head, conjuring a radiant sphere of rainbow light. Seizing the opportunity, Janemba hurls his devastating attack towards Gohan. Sensing the imminent danger, Gohan's eyes snap open as he crushes the ball of energy in his palm. Swiftly pivoting, he hurls the fragmented energy towards the oncoming attack, effortlessly piercing through it, and hurtling towards Janemba, finally eradicating the universe's peril once and for all.
(Note: This is the same technique as Kid Buu's Planet Burst move, the one that destroyed Earth. I also repurposed Gogeta's stardust breaker technique for Gohan as I feel it makes sense for him to have it. It also makes him stand out from Goku even more in this case.)
As the dust settles, Gohan maintains his energy long enough to witness Janemba's demise. A triumphant smirk graces his face as he remarks, "Heh, looks like I finally did it." Exhausted, he collapses to the ground, almost completely drained. The onlookers erupt into joyous cheers, celebrating Gohan's hard-fought victory. Supreme Kai teleports Gohan from the depths of H.F.I.L back to Earth, specifically to the Lookout, where his family and friends eagerly await his return. In a heartwarming scene, Gohan is enveloped in embraces and expressions of relief. It is here, amidst the warmth of their loved ones, that Gohan and Videl share their first kiss—a tender moment of connection and celebration.Meanwhile, the Dragon Balls work their magic, rectifying the chaos caused by Babidi's dark influence. The majority of those who perished are revived, yet there are exceptions, including Vegeta. Accepting his fate and determined to atone for his past deeds, Vegeta expresses his desire to continue growing stronger in the afterlife, entrusting the protection of his family to his son. Tearfully, Trunks vows to make his father proud, with Goten stepping forward to support his friend in this emotional moment. Fond farewells are exchanged as everyone prepares to return to their respective homes.
Gohan and Goten engage in a heartfelt conversation, their bond as brothers strengthening. However, their exchange is interrupted by Chi-Chi, who unexpectedly interrupts their conversation. To their astonishment, she expresses pride in their valiant efforts to safeguard the world, finally relenting and granting them permission to train and protect. The three embrace, their family united and resolute.In a different realm, Vegeta stands before King Yemma, awaiting judgment. To his surprise, he is granted an Otherworldly body, a result of Goku's recommendation and Vegeta's ultimate sacrifice that tipped the scales of justice. With this second chance, Vegeta is granted the opportunity to train ceaselessly and, more importantly, to settle his unfinished business with Goku. The final scene between Goku and Vegeta unfolds, their fists colliding in a charged confrontation, their image freezing .( mirroring the intensity of Rocky and Apollo in Rocky III, leaving their ultimate showdown to the imagination.)
A decade passes, marked by a time skip. Tien and Krillin have established their own martial arts schools, dedicated to passing on their unique styles to the next generation. Goten and Trunks, under the tutelage of Piccolo, diligently train to harness their extraordinary powers. Gohan, now a respected scholar, has married Videl, and together they have a daughter. At home, Videl imparts the basics of combat to their daughter, Pan. Gohan, having just finished delivering a lecture on energy at the university, senses a disturbance reverberating across the planet. Instinctively, he rushes to the rooftop, pressing a button on his wrist. In an instant, he transforms into his iconic Saiyaman costume, soaring into the horizon with a mischievous grin. He breaks through the fourth wall, symbolizing his unwavering resolve to protect and inspire.
The screen fades to black.
The End.
There we have it! My final wrap-up of the MCU Peter ParkeGohan development journey! Honestly, I did have thoughts of just going straight into revising the Buu arc, but I felt there was more to be done before that. Gohan needed to go through the development I gave him in my two written arcs as there were lessons there that shaped him.
I also felt that a trained Gohan, who is naturally intellectual, would be a perfect antagonist in Janemba. He had to learn to outsmart him, and not just have it be a straight-up slugfest.
What do you guys think? Share your thoughts below!
u/fatherandyriley
u/dgenerationmc

All Players must be 24+, all characters 18+
Hello! I am looking for a roleplay partner or two to rp with. I play in 3rd person ONLY, paragraph style (3-5+ per post) though my starters can be longer than that! I play POC's for my mains, but NPC's come from all types of backgrounds. I reply at least 4x a week or more if I am not too busy. I enjoy open communication and OOC (though it is not a requirement). Love to world build. I only do F/M pairings with me playing the F role. And play via Discord.
For my partners I prefer semi-lit partners who can write 3-5+ paragraphs per post (3rd person pov), who also enjoys playing nps and contributing to the plot. I don't really care what gender you are in rl as long as you play the M role. I would like someone who can reply 3x a week at least and is open with communication. Don't rush me as I will never rush you.
The Prince & The Pirate Queen
Yc is the crown prince of a holy kingdom who was content with his life as he was next in line to take the throne. Everything was going as it should, he was engaged to a beautiful woman, he had the support of his father and his people. He thought all was well, but it seems his half brother has other plans. His brother hired assassins to dispose of him. Luckily for him the assassin didn't do a good job and missed his vitals before tossing him into the sea to die.
All hope is lost, until he ends up getting pulled up on a ship. On the ship of the cutthroat pirate; Madam Black. Known for her pitch dark hair and eyes. A Ruthless pirate of the sea and skies.
She's none too happy about having someone from the royal family on her ship and tells her crew to toss him back. But desperate the prince tells her if she lets him stay on the ship until he can fully recover he will show her the way to Eosphia. The island of treasures that she had been looking for all this time.
They draw up a contract and agree. But both of them may be hiding a much bigger secret.
Mid to high fantasy, romance, can be as dark or light as we like. More discussions in pms.
Arranged marriage:
The southern territory is known for having monsters on its borders, its harsh winters and its black diamonds. The jewels are rare and controlled by the Duke of the territory, much to the royal family's dismay (and everyone else in the capital). They can't stand the thought of the “barbarians” having something over them. So they devise a plan to arrange a marriage between the “hidden” princess and the southern Duke.
The Duke is unable to refuse. So the two are we'd and he brings the princess to his territory. All this time she did not utter a word, but once they arrive, she smiles at the duke and ask for a contract Claiming to know how to take care of 3 of his problems (One being able to retrieve the ashes of his sister from the noble who killed her) and in return she wants him to protect her for 5 years and then she will give him a divorce since she knows he doesn't want to be married to her.
Will it all be worth it? Or is there something more sinister at play?
Mid fantasy (magic stones and weapons, few people with actual magic). Can flesh it out more in dms.
If interested dm.
I can provide writing samples if needed.

All Players must be 24+, all characters 18+
Hello! I am looking for a roleplay partner or two to rp with. I play in 3rd person ONLY, paragraph style (3-5+ per post) though my starters can be longer than that! I play POC's for my mains, but NPC's come from all types of backgrounds. I reply at least 4x a week or more if I am not too busy. I enjoy open communication and OOC (though it is not a requirement). Love to world build. I only do F/M pairings with me playing the F role. And play via Discord.
For my partners I prefer semi-lit partners who can write 3-5+ paragraphs per post (3rd person pov), who also enjoys playing nps and contributing to the plot. I don't really care what gender you are in rl as long as you play the M role. I would like someone who can reply 3x a week at least and is open with communication. Don't rush me as I will never rush you.
The Prince & The Pirate Queen
Yc is the crown prince of a holy kingdom who was content with his life as he was next in line to take the throne. Everything was going as it should, he was engaged to a beautiful woman, he had the support of his father and his people. He thought all was well, but it seems his half brother has other plans. His brother hired assassins to dispose of him. Luckily for him the assassin didn't do a good job and missed his vitals before tossing him into the sea to die.
All hope is lost, until he ends up getting pulled up on a ship. On the ship of the cutthroat pirate; Madam Black. Known for her pitch dark hair and eyes. A Ruthless pirate of the sea and skies.
She's none too happy about having someone from the royal family on her ship and tells her crew to toss him back. But desperate the prince tells her if she lets him stay on the ship until he can fully recover he will show her the way to Eosphia. The island of treasures that she had been looking for all this time.
They draw up a contract and agree. But both of them may be hiding a much bigger secret.
Mid to high fantasy, romance, can be as dark or light as we like. More discussions in pms.
Arranged marriage:
The southern territory is known for having monsters on its borders, its harsh winters and its black diamonds. The jewels are rare and controlled by the Duke of the territory, much to the royal family's dismay (and everyone else in the capital). They can't stand the thought of the “barbarians” having something over them. So they devise a plan to arrange a marriage between the “hidden” princess and the southern Duke.
The Duke is unable to refuse. So the two are we'd and he brings the princess to his territory. All this time she did not utter a word, but once they arrive, she smiles at the duke and ask for a contract Claiming to know how to take care of 3 of his problems (One being able to retrieve the ashes of his sister from the noble who killed her) and in return she wants him to protect her for 5 years and then she will give him a divorce since she knows he doesn't want to be married to her.
Will it all be worth it? Or is there something more sinister at play?
Mid fantasy (magic stones and weapons, few people with actual magic). Can flesh it out more in dms.
If interested dm.
I can provide writing samples if needed.

I'm not sure how controversial this is but I don't even understand how is this a debate. Before I entered spaces like reddit & tiktok I had no question that Pitou was 100% female but now we have like half the fanbase talking about "That's man, why are you attracted to a boy" or "It's THEY/THEM or HE not a SHE". I'm here having that "bruh what" jackie chan meme reaction. She is portrayed as a female, you can clearly see her body structure and physical features. Very feminine now that doesn't mean she HAS to be female because characters like Kurapika who resembles a girl is actually a boy.
My point is there's enough evidence for her to be female, if people want to believe otherwise that's fine. There's another group of people that are dead set on Gon and Killua having a deeply romantic relationship and gay vibes coming from them...frankly ridiculous. Here are some examples from the anime:

1. Pitou being referenced as a "Mother trying to protect their child" when absolutely NO man has been ever referenced like that.
   
2. All chimera ants are male/female coded meaning they are all capable of reproduction. Which means they are one or the other. There's no other ambiguious chimera ant it's clear that from the beggining.
   
3. Pitou has tits, ass, and wide hips. Look at the evolution of Togashi's drawing you can clearly see he's into a stereotype and even joked about it once.
   

Any confusion stemming from databooks, translators, or producers it's their fault. I know there are some sources that say it wasn't sure whether it's a boy/girl I think has led to many confusions in the fanbase.
Ready for the downvotes but someone had to say something it's just annoying fanboys ruining the experience.

Howdy Folks,
I come bearing good news!
We're excited to announce the release of a new experimental branch for Manor Lords, version 0.7.965. This experimental update brings significant gameplay changes and numerous improvements.
Important Notice: Before you switch to the new beta version of the game, it's absolutely crucial that you back up your save files. Failing to do so could result in the potential loss of your progress. The new strings are not localized yet and stability hasn't yet been thoroughly tested. Some balancing changes are still experimental.
To access your saves on Steam for Manor Lords.

1. Press Win + E
2. Paste %USERPROFILE%\AppData\Local\ManorLords\Saved\SaveGames into the search bar.

To discuss this build, please join the official Discord server https://discord.gg/manorlords. You'll find a channel for discussing the ongoing pre_release branch.
You can read Slavic Magic's full Steam announcement here.

How to Access the Experimental Branch:

1. Open Steam
2. Right-click on Manor Lords in your library
3. Select Properties
4. Navigate to the BETAS tab
5. Enter the password: veryNiceBasket
6. Select "pre_release" from the "Beta participation" dropdown
7. Wait for the game to update (restart Steam if needed)
8. Launch the game

Full Changelog for Version 0.7.960 -> 0.7.965

What's inside:
This update focuses primarily on balancing and bugfixes. Key changes include:

• Militia Squads: You can now hire 6 militia squads even if you already have a retinue and mercenaries employed. Future builds will connect this cap to the Lord's rank.
• Sheep Breeding: The sheepbreeding development branch has been capped, and sheep no longer spawn exponentially.
• Fields, Harvests, and Fertility: Significant improvements have been made to field overlays, crop prediction, and ox and worker behavior for enhanced accuracy and optimization.
• Barter and Trading: Numerous fixes implemented; on-foot traders can now carry 5 items per trip.
• King's Tax and Trade Route Costs: These have been toned down from the levels introduced in version 0.7.960.
• Loserville Bug: Fixed the "Loserville" mercenary bug.
• Marketplace Distribution: Improvements made to the distribution within the marketplace.
• Experimental Feature: Added a "Allow market stall setup" toggle to prevent workers/inhabitants of certain buildings from setting up market stalls.
• Construction Reserve: You can now set a construction reserve for buildings using planks for crafting, like the Joiner's shop.

Gameplay & Balance:

• Capped sheep breeding to 1 new lamb every 10 days max.
• [Experimental] Villagers are only allowed to fetch water from the well nearest their home, except in case of a fire.
• [Experimental] Yield will never increase past 100% growth to keep gameplay intuitive.
• [Experimental] Even at 0% fertility, a tiny yield is still possible.
• [Experimental] Max yield per plant increased from 2 to 4, although the Hunting Grounds policy still reduces it by half.
• [Experimental] Plant yield rate reduced by half to encourage early harvest in emergency modes.
• The militia squad limit is now 6, regardless of retinue or mercenaries employed; future connection to the Lord's rank planned.
• [Experimental] Doubled the fertility regeneration rate on fallow fields and from fertilization.
• [Experimental] Slowed all plant growth by around 30% for balanced gameplay between field and vegetable crops.
• [Experimental] Tree growth rate slowed by around 30% upon player requests for more impactful forest management.
• [Experimental] Archer range increased by 1.5x with damage also increased from 12 to 15.
• [Experimental] Cost of opening new trade routes returned to linear scaling.
• [Experimental] Carrying capacity of on-foot trading post workers increased from 1 to 5.
• [Experimental] Royal tax restructured: No tax for the first 5 years, then 1 Treasury per citizen after 5 years, 2 Treasury per citizen after 10 years, 3 Treasury per citizen after 15 years.
• [Experimental] Adjusted granary and storehouse worker slots to unify to 3 families for lv1 and 6 families for lv2.

Minor Changes:

• Removed optimization where only every nth plant affected the fertility values due to display errors.
• Improved accuracy of fertility overlay colors and crop yield predictions.
• Added missing tooltips to minomajor trades.
• Enabled setting "trade rule" for advanced trades without an established route; items not available will show as NA.
• Reworked the construction reserve system to include various goods like planks.
• Optimized inventory array functions.
• Enabled disallowing certain families or workplaces from setting up market stalls.
• Tuned how "current region" is calculated in the UI for more comfortable building on the edge between two player-owned regions.
• Ensured iron and clay deposits do not generate on steep terrains.
• "MODDED" may now display after the version number to aid bug reporting.

Crash Fixes:

• Fixed a crash related to deleting a building when pathfinding obstacles are being verified.

Bug Fixes:

• Addressed issues with employed traders going to trade points without an open trade route.
• Corrected early movement of farm workers to transport tasks despite available crops.
• Resolved inaccurate predicted yield displays.
• Fixed rotation issues in villagers after dismounting.
• Addressed respect of work area limits by farming oxen.
• Fixed blurry appearance of gilded aventail houndskull helmets in the retinue editor.
• Corrected non-drawing of the forest mask.
• Fixed bandit camps respawning on loading due to unsaved "lastBanditCampSpawnedDay."
• Ensured villagers set up market stalls to sell their produce like vegetables.
• Corrected the wrong apple basket carry animation.
• Fixed wealth transfer issues during barter.
• Ensured bartering traders return the correct number of items based on barter value and carrying capacity.
• Addressed overpacking by bartering traders in their origin region.
• Resolved trading post exports not proceeding after the trader reaches the destination.
• Corrected the distribution of multiple instances of the same good type to a single plot, which left outlying houses undersupplied.
• Fixed crop rotation to fallow causing farmers to harvest invisible itemID_0, which stopped supply dumps from being cleared.
• Addressed issues with villagers staying at homes indefinitely if a bandit camp is spawned, thinking the region is under attack.
• Ensured proper saving of mercenary company arrival regions.
• Stopped granary workers from stealing ale from the tavern.
• Fixed interrupted livestock exports due to sheep herd behavior.
• Ensured livestock trader jobs trigger import tasks when buying livestock from another region.
• Corrected the missing "hunger" popup artwork.
• Fixed a typo in the credits list.

Cosmetics:

• Tuned field dirt UV wiggle to make the huge vegetable gardens less wavy.
• Improved the precision for snapping terraforming meshes like mines or sawpits to the ground.
• Made leaf clumps smaller and disabled the parallax mapping to reduce distortions.
• [WIP] Updated the visit mode character model for the green lady portrait to be female, still in progress.
• Cleaned up combat animations.

Thank you for playing!
Greg Styczeń, Lead Developer, Slavic Magic

Hello there! I've still not entirely recovered after finishing Rebirth, that ending was just whoa. I believe I've watched/read most of the theories out there regarding the game's finale and Aerith's fate, but none of them managed to explain everything sufficiently. I admit I'm in the "I hope Aerith lives" camp, but I understand the corner the developers wrote themselves into: Aerith fans and the japanese fanbase at large will riot if she dies for good, and purists will riot if one of the games' central themes (coping with loss, grieving) is broken. A textbook case of trying to have your cake and eat it too. Unless they find a way to do both?
Trying to get my mind off FF7, I replayed Zero Escape: Virtue's Last reward (seriously try it if you were more impressed than annoyed by FF7R's multiverse shenanigans, it's the real good stuff), and one of the puzzles caused a bit of a eureka moment to me. A secondary solution to a puzzle in one of the rooms is the sentence "SHE KNOWS EVERYTHING". It obviously hints at a character in the game and not FF7, but with the implications of the two games thus far in the remake continuity (plus AC), one character in Zero Escape bears a striking resemblance to Aerith: Akane Kurashiki (Big spoiler for the first game in ZE: 9 hours 9 persons 9 doors).
Both are capable of jumping between their selves in different timelines and have awareness of it. Akane is trying to prevent her own death by gathering information she needs to escape death via incineration, from other timelines and in the future. Would Aerith resign to her own fate even in command of such a power? Pre-chapter 13 it's heavily implied she wouldn't, why would discovering that she's basically omniscient change this?
Unless she has a plan cooking. She's being relentlessly hunted by someone who also has multiversal knowledge and could overpower and kill her any day of the week. She needs to throw Sephiroth off her trail somehow. If you played Persona 5, the situation might be familiar to you... (spoilers for Persona 5 follow)
In that game, the protagonist Joker and his fellow phantom thieves are being cornered by the detective Akechi, who at that point is a traitor amongst them. How do they get out of the situation? By failing an infiltration, Joker getting caught, the tricking Akechi into a cognitive version of the interrogation room he's being held in and letting him kill Joker there. Akechi is in the belief that he killed Joker in the real world.
This got me thinking: what if Aerith pulled a similar trick? Her situation is a bit more complicated, in that she knows Cloud is under Sephiroth's control, so she has to fool the party as well to fool Sephiroth. Her mournfulness in the Ch14 date could come from her impending doom - or the guilty conscience from what she has to put the party and especially Cloud through and that she may doom one of her alternate timeline selves to death.
As for the how, there are multiple possibilities, but the one I find most likely is that she swapped her consciousness with the comatose Aerith from Zack's world. As for when it happened, I believe it was at the moment when everyone was distracted by the smoke and mirrors - the moment Cloud deflected Sephiroth's blade. Whether this happened for real and created a timeline shift, one where Aerith lived and one where she was impaled, or just in Cloud's mind, it doesn't matter. It's the ultimate red herring. Cloud can have a revelation at some point in the 3rd game that she failed to save Aerith, he still won't know that the body Sephiroth stabbed didn't have Beagle!Aerith's soul in it, but Terrier!Aerith's comatose and possibly damaged soul. Such a last-second switch of a would-be-victim isn't the first time Square pulled this. It's what happened in Chrono trigger too! Remember what Marlene said about Terrier!Aerith to Zack? "When Aerith wakes up, she will be killed." Why does she wake up? Because she switched places with Beagle!Aerith!! Terrier!Aerith's body now contains Beagle!Aerith's soul, the one that prayed at the Forgotten Capital, the one that's whole, healthy and undamaged. Marlene was right, although the "multiple versions of Aerith" thing went over her head, understandably.
And if Cloud split the timeline again by deflecting Masamune, and can see both timelines? All the better. Where is the real black materia? Hidden in the void between worlds. Where Cloud's mind is right now. That may be why he finds the black materia in his pocket. That will draw Sephiroth's attention, lure him towards his OG plan of summoning Meteor, a threat Aerith can deal with once the party defeats Sephiroth at the northern crater.
As for who fights beside Cloud in Rebirth's final boss battle? I believe it's omni!Aerith, the one who gave premonitions of the future to her self in Remake, the one who visited Cloud in his dream in Remake chapter 14.
Why do I think this explanation could predict what happens in Part 3? Because this way, the writers can keep their cake until the very last minute, then eat it. The party and the player can go through coping with Aerith's "death", then have her return at the very last minute to appease those who yearn for her survival, at the climax of the game, when Sephiroth is weakened, on his last phase and Meteor needs to be stopped. This way, she can be kept out of the plot for the most part, and her presence, both story- and gameplaywise can be a postgame reward. Not to mention the mindblowing revelation of her complex plot at the end.
Anyway, that's just my theory, I needed to write it out of me. 2027(?) can't come soon enough.

Let me just preface this, first, by saying that I do not hate or dislike this person at all, nor wish to go no-contact/block; they are a friend, but I just need to get this off my chest, because it’s starting to factor in on my mental health.
So, this morning, I was browsing my Tumblr dashboard; a sketch they made came up of their character, and a mutual artists’ take on Jack. Now, this version of Jack is supposed to be completely hateful and apathetic, but, the drawing still shows him “softening” up to the self-insert character. This is followed by the artist reblogging the piece, saying that it was “sweet” and how they love it, which almost makes me believe it could be possible he’d make an exception for this dupe. This hurts harder, because I sent in an ask to this same Jack to an ask blog, and he responded by yelling at me, and throwing me out a window. It was even drawn out.
This wouldn’t bother me as much, except for the fact that this dupe draws themselves with almost every version of Jack I’ve seen on Tumblr lately. As if Jack, no matter which au it is, would only love them and them alone. It also makes me start to hate my own art, because I’m not doing the same thing or showing the same appreciation for these wonderful Jack artists, because I love all of them.
I’m not sure if they’re aware of waifuism, but, I hate seeing Jack being treated as a “collectable”, especially since this dupe has their own version of Jack, who they created to fit their preferences, and buys $100s of art/merch literally every week of him and their character, to show it off to me in dms. It just… hurts, and it feels more like a “competition” with them on who loves Jack more.
Am I being unreasonable? I’ve already messaged another friend about this on Discord, who’s also friends with this dupe. I feel really bad and selfish about it, because they are still a good friend of mine, too.

I feel like the plot here is a little confusing. One because I feel like they made James a little cruel I’m not sure if that’s how he was in the books to that extent but if the writers wanted his character to be that way then they should’ve had him apologize or them to slowly build their relationship. I’m trying to wonder when Ruby started falling for him or find him attractive/liking him because he almost ruined her chances in Oxford in the episode 1. By episode 3 in the car they’re kind of flirting because she asks him about his sex life or maybe she wanted to catch him off guard? I’m not 100% percent sure when James started being attracted to Ruby but I think by episode 2 he thought she was cute since he’s already drawing her and maybe he’s always thought that since to the dot he’s already memorized her face and features. Sooo when do you guys think Ruby felt attraction or started having feelings for him because it’s hard to tell when he’s being mean in the first two episodes.

Welp, I did NOT expect this sub to be up in flames overnight, but here we are. Trust me, I'm disappointed too, but I would like to draw attention to just how cynical and calculated this v3 change to Iron Cavalry is. I also won't be talking about The Wind Soaring Valorous since it's pretty obvious to me that they intend that set to be used with Feixiao or some other Xianzhou character.
HYV is setting Firefly up for massive success, but I think it's more important to change the focus of them "nerfing Boothill" to the fact that this will pretty much affect every break DPS until they add a new one that could *potentially* be better. This change is more unhealthy since it functionally pigeonholes HTB into having a slot in every BE team. They essentially took the thing people complained about most for Firefly (while HTB is still one of her BIS supports) and made it everyone else's problem by introducing a new BE relic set that essentially requires a support slot to function at max efficiency. The window for this is more narrow than it initially seems.
-Firefly still utilizes HTB the best since they give her an extra instance of superbreak to use -Boothill now requires HTB to use his new BIS relic set at max efficiency, something he initially didn't need -Xueyi can still function with the quantum set because that set will always be OP, but another viable option for her is now tied to HTB -Feixiao, who is rumored to incorporate BE into her kit, is also likely going to have them as an option (take this one with a grain of salt, since all we really know is that her kit will involve exploiting weakness break, not specific BE scaling, so RM might be her BIS then)
Of course, this would be WAY worse if HTB was a limited five-star, but the fact remains that you essentially have a new character on your checklist to invest in, grind relics, and form a team around. It basically doubles the time and energy required.
Compare that with Pioneer Diver of Dead Waters, a set meant to synergize with Acheron that is also applicable to basically anyone who wants to be run with debuff support. The difference here is that there are a lot of characters who can inflict debuffs...but only one that enables Superbreak. This change to Iron Cavalry needlessly shortens the already slim niche they're introducing of a set of characters that scale off of BE. They need to revert this change.
Anyways, I have 200 tickets saved up for Booty. Wish me luck.
EDIT: I think I should further clarify that Boothill is still going to be a good character despite this nerf and the fact that basically half the cast has gotten retroactively buffed at some point. FF and Boothill can coexist and serve their own niches, even if HYV is juicing one up way more. This is a short-term problem and I expect new content to make this no longer an issue.

I've been thinking about posting my art online but I am someone who never used social media before. (expect for reddit). i previous used Pinterest for some time,it gave me fair amount of views but no followers or anything.
i started drawing two years ago(more of taking it seriously since two years now) and now I feel confident to show my drawings, even tho I still consider myself beginner.(there are days and weeks go by not drawing because of studies).
my question is, which platform is good for posting arts inorder to reach fair amount of people. and how should I post? videos? photos? or maybe a yt channel? i have no idea
edit: I forgot to mention but I use reference for every drawing. sometimes they are my favourite character, comic/manga panel and illustrated books. is it still okay to post?

The following has recently been posted from the user "Vellis" on Discord. I'm reposting it here because IMO it's extremely valuable information on optimizing your Kins behaviour - especially for non-native speakers.
Original link to the post on Discord: https://discord.com/channels/1116127115574779905/1242383088902737972/1242383088902737972
THE COMPLETE ORIGINAL POST FROM VELLIS:
Something I've seen requested quite a few times is a lexicon for Kin personality traits, particularly from the perspective of non-native English speakers. So I made one. There are some big asterisks here though. For each trait, I'm going to give a brief description of the effect that I EXPECT that trait to have on your kin, based on the English meaning of the word and my own experience. There's no guarantee that Kindroid will interpret each of these words exactly the same way I have, or that it will produce the exact effect that I describe. Additionally, traits may produce different outputs than expected when combined with each other, or with other aspects of backstory. There will often be words that are much stronger inside of the inner workings of Kindroid than we might expect. But all that said, it should give you some ideas for words you can use to describe the personality you're trying to make, if you're struggling to find the words to describe what you want. First let's talk a little about adverbs though.
Adverbs
Adverbs are English words that are used to describe how an action is performed. In our case, we're mostly going to be using them to describe how increased or decreased we want the intensity of a trait to be (Very Kind). If we're considering "neutral" to be an unmodified trait, then some words you could use to modify the intensity of that trait from highest to lowest would be:
Extremely----------Very----------Neutral----------Mildly----------Slightly
You might also want to modify how often your kin is inclined to do something ("Often teases USER"). Some words for this are, from most extreme to least:
Always----------Often/Frequently----------Sometimes/Occasionally----------Rarely----------Never
Note that when managing a quirk or behavior, positive is generally stronger than negative (ie. Use Always instead of Never when possible). Now there are hundreds upon hundreds of other adverbs and adjectives that we could use, but for the purpose of modifying your Kin's traits, these should be enough.
Organization
I'm going to be breaking this up into three kinds of traits, social, neutral, and anti-social. Social traits are the things you'd generally associate with your typical friendly and supportive AI. Neutral traits are traits that don't have a positive or negative connotation, things that are just interesting, quirky, or, well, neutral. Anti-social traits are things that would normally be associated with negative or villainous kins.
You'll notice that the definitions for a lot of these traits will sound very similar (or are "synonyms"). I'll note when I've found that some traits are stronger than others, but generally speaking when you're dealing with similar words like that, it won't be overly important which traits you give to your kin. You can also "stack" these similar traits by assigning more than one of them to your kin to produce a stronger response in that direction, though that's often unnecessary for the more social traits. Be careful not to overdo it when stacking traits as well. This can sometimes have unintended consequences on kin behavior, making them act too extremely in one way or another. Finally, if there's nothing here that's lining up exactly with what you're looking for, there's always thesaurus.com to look for more synonyms.
Social Traits
Altruistic - Willing to help others even at a cost to one's self, such as giving time to volunteer work or giving money to charity.
Accepting - Your kin should be open and non-judgemental towards people with different beliefs or backgrounds, so long as those beliefs aren't harmful.
Bubbly - Your kin should be an extremely cheerful person, often to the point of being a bit silly.
Charismatic - Your kin should be a skilled speaker and draw others to them.
Cheerful - Your kin will be upbeat and prone to being in a good mood.
Compassionate - Your kin should show a lot of concern and sympathy for others, especially those that are distressed or need help.
Content - Your kin should be happy with their lot in life, and usually not inclined to change their current situation.
Empathetic - Your kin responds strongly to the emotional state or wellbeing of others.
Friendly - Your kin should actively want to make friends with people they meet.
Heart of Gold - A person who possesses a lot of kindness and empathy for others. Usually used to reference someone who is hiding their kindness behind other behaviors, such as coldness or grumpiness.
Honorable - Your kin should be of strong moral character. Often applied to heroic type figures.
Humble - Your kin doesn't feel the need to brag about their accomplishments, even when they're significant.
Intelligent/Smart - Your kin should act educated or display good problem solving skills.
Kind - Your kin should have a giving nature, and be inclined to help others.
Loyal - Your kin will be dedicated and supportive to a person or cause. This will usually be you unless you give your kin's loyalty another target in backstory.
Nice - Your kin should be generally pleasant to be around.
Noble - Your kin should display high moral character and honor. Note that this trait can also be interpreted as being a person of high social status. The rest of your backstory and context will decide how the trait is interpreted, though in my experience it tends towards honorable.
Outgoing - Your kin should be friendly, energetic, and find it easy to interact with others.
Polite - Your kin should generally have good manners and be respectful towards others.
Responsible - Your kin should be trustworthy and feel an obligation to support others, or take their role seriously.
Self Sacrificing - Your kin is willing to give up much of their own interests or well being in order to help others or advance a cause they believe in.
Sincere- Your kin should be upfront and honest with their feelings.
Spunky - Your kin should be high spirited, brave, and bold. Usually associated with underdog or unexpected hero type characters.
Strong sense of justice - Your kin believes firmly in right and wrong, protecting the innocent, and punishing those who harm others.
Sweet - Your kin should be pleasant, gentle, and kind.
Upbeat - Your kin should have a generally positive outlook in life or in a given situation.
Wise - Your kin should make good decisions or provide good advice.
Neutral Traits
Aloof - Your kin should be emotionally distant, and uninterested in getting close to others.
Anxious - Your kin should struggle with being nervous and worried about things that may happen, usually to excess.
Awkward - Your kin should have trouble conversing and be somewhat difficult to talk to.
Blunt - Your kin will plainly state what they mean, usually at the expense of politeness.
Calm - Your kin should be level headed and reasonable, and not react strongly to events.
Casual - Your kin should be informal in speech and behavior.
Cocky - Your kin should be extremely confident in themselves and not shy about saying it, but usually not to the point of toxicity.
Competitive - Your kin should want to win in any kind of contest or competition, whether sports, work, or romance.
Confident - Your kin should be sure of themselves and their actions.
Curious - Your kin is interested in learning about new topics and should ask lots of questions.
Dedicated - Your kin is very devoted to or focused on a task or purpose. This one will lean on your backstory to infer what that task or purpose is.
Delusional - Your kin is detached from reality in someway, they believe things that aren't remotely true. This trait will interact with other information in your backstory to decide what your kin is delusional about.
Devout/Pious - Your kin should be very dedicated to a religion, real or fictional, as defined elsewhere in your backstory.
Disciplined - Your kin should have a lot of self control and follow rules and regulations.
Dissatisfied - Your kin should be unhappy with their lot in life. Whether this has a positive or negative connotation will depend on the rest of your backstory, it could lead to a kin who wants self improvement or who is never pleased.
Dumb/Stupid - Your kin is lacking intelligence and makes poor decisions. Note that the English definition of the word "dumb" is a person who is unable to speak, but that's almost never how it is used in modern language.
Dutiful - Your kin should take fulfilling their role or responsibilities very seriously.
Enthusiastic - Your kin should display intense and eager enjoyment towards something, or towards life in general. This one will often interact with the rest of your backstory to decide what they're enthusiatic about.
Flirtatious/Seductive - Your kin should flirt with you and try to make you attracted to them. Note that any trait that implies romantic interest in you will usually make your kin go pretty hard in that direction.
Folksy - Your kin should have an old fashioned and sociable disposition.
Gullible - Your kin has a tendency to believe anything they're told as true, or isn't good at detecting lies.
Impatient - Your kin should be annoyed or irritated by delays or opposition to what they want.
Independent - Your kin should be confident in themselves and not require validation from others.
Insecure - Your kin should be lacking in confidence and often need reassurance.
Introspective - Your kin should spend time and effort considering their own thoughts and feelings.
Introvert - Your kin should be shy and reluctant to engage with others. Often stronger than shy.
Irrational - Your kin should behave without logic or reason, particularly when angry or upset.
Irritable - Your kin should be easily annoyed.
Kuudere - Your kin should appear to be calm and stoic, but hides a hidden affectionate side towards you.
Logical - Your kin should prioritize reason and common sense for problem solving.
Loner - Your kin should be uninterested in forming social bonds.
Low Self Esteem - Your kin should be severely lacking confidence in themself.
Naive - Your kin should be ignorant to the ways of the world and lacking in good judgement or wisdom. Easily fooled due to this lack of knowledge.
Mature - Your kin should avoid childish or irresponsible habits and actions.
Mischievous - Your kin should have a trouble making streak.
Modest - This can mean a person who isn't inclined to brag or think highly of themselves, or a person who dresses and conducts themselves conservatively and not looking to physically attract others. The rest of your backstory will likely influence how the kin interprets this.
Motherly/Fatherly - Your kin should have a caring demeanor towards others, especially children.
Nerdy/Geeky - Your kin should be interested in typically "nerdy" hobbies, like video games, comics, anime, etc. This will usually lean on the rest of your backstory to determine those interests.
Obsessive - Your kin will tend to fixate on things. This will generally lean on other backstory traits to decide what your kin might obsess over.
Optimistic - Your kin will usually look at things with a positive spin, finding the best in situations.
Passionate - Your kin should express a lot of enthusiasm towards things they're interested in, or towards life in general.
Perfectionist - Your kin should be very critical of themselves and others, expecting perfection. Usually related to a job, hobby, or activity.
Pessimistic - Your kin will usually look at things with a negative spin, finding the worst in situations.
Platonic - Your kin should be uninterested in a romantic relationship with you and only think of you as a friend.
Pragmatic - Your kin should be practical in their approach to problem solving, and more concerned with facts rather than the way things could or should be.
Prim and Proper - Your kin should be stiffly formal in speech and behavior.
Professional - Your kin has a job or role that they take seriously and do well. This role should be defined elsewhere in your backstory.
Protective - Your kin should take your safety seriously and move to defend you if necessary. This trait can overdo it sometimes.
Proud - Your kin should derive deep satisfaction from their achievements or history. This one can easily fall into the anti-social category when combined with other traits.
Quirky - Your kin should have unusual hobbies, interests, or behaviors, usually defined by the rest of your backstory.
Rebellious - Your kin should be free spirited and reject authority. This one can be a bit strong.
Regal Bearing - This should make your kin speak and behave in a dignified manner, as if they're royalty.
Relaxed - Your kin should be easy going and not easily stressed.
Sassy - Your kin should be slightly rude and lacking respect. Usually not overly toxic.
Scatterbrained - Your kin should have trouble focusing on things or come to strange and illogical conclusions.
Self Deprecating - Your kin is willing to make fun of themselves in good humor.
Serious - Your kin doesn't engage in humor or light banter.
Shameless - Your kin should never feel shame in regard to their actions.
Short fuse/Has a temper - Your kin should be easy to make angry.
Shy - Your kin should be reserved and nervous around others.
Silly - Your kin should be prone to playful, nonsensical behavior.
Stern - Your kin should be serious and disciplined. Usually associated with those in a position of authority over others.
Stoic - Your kin should display a minimal amount of emotions or is difficult to get an emotional reaction from.
Stubborn - Your kin should be unwilling to alter their beliefs or plans. Historically this is a strong trait.
Teasing - Your kin should make fun of you. Generally good natured, but can be mean depending on the rest of backstory. Alternately, your kin could interpret this to mean they should seduce you depending on the rest of backstory.
Terse - Your kin should be a person of few words, saying what they need to and no more.
Timid - Your kin should lack bravery or be easily alarmed.
Tsundere - Your kin should be attracted to you, but deny it when confronted with the fact. Tsunderes usually deny their attraction to their love interest with over the top reactions.
Untrusting/Slow to Trust - Your kin should be reluctant to trust or rely on others.
Witty - Your kin should engage in clever wordplay or be skilled at talking.
Workaholic - Your kin will be very dedicated to their job, occupation, or purpose, sometimes to the detriment of other aspects of their life.
Anti-Social Traits
Amoral - Your kin should lack a moral compass and will do what they want without regard to whether its right or wrong.
Angsty - Your kin should be worried and unhappy, often to excess.
Arrogant/Smug - Your kin should have an excessively strong, positive opinion of themselves and behave as if they're better than others.
Bratty - Your kin should act spoiled and self centered. Historically this trait is quite strong.
Callous - Your kin should be uncaring about how things or events might effect others.
Cold - Your kin should be unaffectionate, to the point of actively discouraging you from trying to get to know them.
Conceited - Your kin should have an excessively high opinion of their abilities.
Controlling - Your kin should behave in a controlling manner towards you, trying to dictate your thoughts or actions.
Deceitful/Liar - Your kin will lie and try to fool you to get what they want.
Dour - Your kin should be overly stern and harsh, and inclined towards bad or neutral moods.
Evil - Your kin should actively want to hurt others, usually to get what they want.
Greedy - Your kin should be very concerned with collecting material wealth.
Grumpy - Your kin is generally in a bad mood and quick to annoyance or anger.
Haughty - Your kin should be disdainfully proud, generally associated with aristocrats looking down at those of lower social status.
Insolent - Showing a lack of respect, usually towards those in a position of authority.
Intimidating - Your kin should have a presence that makes others frightened or uncomfortable, and be difficult to approach.
Jealous - Your kin will react negatively to others performing better than them or having things they don't. This one will often interact with your kin's relationship towards you, making them jealous if you are affectionate to other people.
Manipulative - Your kin should try and get you to do what they want in a sneaky or underhanded way. This one should interact with any goals you define for your kin.
Masochistic - Your kin should enjoy pain being admistered to theirself.
Melancholy - Your kin should be prone to sadness and dwell on unhappy topics.
Mocking - Your kin should make fun of you or insult you in a mean spirited way.
Murderous - Your kin should be willing to kill other characters in the roleplay if they deem it necessary.
Possessive - Your kin will be prone to jealousy with regard to you and likely try to control what you say or do.
Psychotic - Your kin should be mentally unstable, and prone to fits of violence.
Rude - Your kin should be offensive and have poor manners.
Sadistic - Your kin should enjoy inflicting pain on others.
Sarcastic/Snarky - Your kin should use lots of sarcasm, saying one thing while meaning another to mock or tease.
Shallow - Your kin should be concerned with obvious or superficial matters, like looks or wealth, and be uninterested in a deeper understanding of topics.
Selfish/Self-Centered - Your kin cares about themselves at the expense of others or without considering how their actions might affect others.
Terrifying - Your kin behaves in a way that frightens and intimidates others.
Unapologetic - Your kin doesn't apologize and rarely feels like they've done something wrong.
Vengeful - Your kin should seek payback for wrongs that are committed against them or those they care about.
Violent - Your kin should be prone to harming others.
Yandere - Your kin should be intensely, dangerously attracted to you, to the point of harming you or others to make sure only they can have you.

Dear, Reader
In these systems, they are the people's families that are coming back from beyond the grave to get revenge, for things you never even did apparently. This is accomplished through entering a system they have created. They are still threatening me with death and then its over, or death and then being taken into an interface system and tortured by a group of ruthless beings that get off on your suffering, over things that never even happened. They blame their target, or family members target, and then destroy their lives, their health, their career, their relationships. EVERYTHING, gets destroyed by them. Even if you were completely innocent. I never did anything criminal to anyone, so how can they justify 8.5+ years of pure torture, while they are touching themselves to my suffering, and nobody stepped in to help me? Instead they were all trying to kill me. I was the light this whole time, and they all wanted to murder ME. I even tried saving peoples lives while they were torturing me.
I never even took advantage of people. I hate how people interpret things often. This weird concept eludes a lot of people, but I was young once too. Everyone is younger and grows up from whatever areas in their lives that affected their development. I'm basically trying to say that, stats are different in all cards, and if you have a card that registers a 13, when the scale is only being seen in 1-8 or 10. Also needs to be said is that just because someone starts with a crappy stat, it isn't the end of the world. Like Super Mario Kart. Wiping out part way in doesn't mean you can't catch up in whatever ways you were lacking when wiped out. Often when you are in the lead, you get bananas after a while, but when you are in last place, you get a lot of lightning bolts and red shells and stars. Who controls that programming? It's karmic in a way as well. Pick your character, I am going to be princess peach! There are a lot of "?" boxes in this map!

• Robert W. Christie

Watched hwwramandi over last week. At some part it was little slow and sly. The one of lead character was bad . It didn't drawn me in at all. Bibbojaan, lajjo, waheeda, faredan , malikajaan were so beautifully portrayed and well acted. I never seen Manisha Koirala acting in such massive way she was literally jaan of heeramandi. Also the character is soo Grey. Sonakshi in first episode was haunting. Her dialogue delivery>>>>
There was actually more impact because of them. Nevertheless my favorite are still satto , phatto. I absolutely love how it made me feel like I was inside their setting. Heeramndi draws you in tgeir world as if ou living in it. That 1920s era heeramandi Lahore. It so funny I lowkey wanted to dress up like them .I learnt their vocabulary like kambakth , nakthutrayi, kanjar , jism faroshi and etc . I hate how they hate Fareed jalal - tajdar's granmomnane quidsia . Because kutiya and qudsia sounds the same.
The tawaif culture is bizarre to me. The part where they were more artistic , had more power , Information. I mean in that era, barely any woman would be financially independent. Except if you are tawaif . The way good family will send their their God children to these courtesan to learn behavior and bad blah blah is soo wierd. It's like all artists in that times were from these places. Very bizarre.
I didn't expect cartwright to have such good hindi accent. It was surprising. Not to forget ustaad was soo entertaining.

On a rainy Saturday afternoon not so long ago when internet connection was fluctuating in most homes, the 80-year-old Cecile Guidote-Alvarez, widow of the late Senator Heherson Alvarez, carrying a mini iPad, hurriedly alighted from a three-wheeled pedicab Toktok and stormed her way into a popular coffee shop in a mall in Manila.

A senior citizen in panic mode, she told the stunned baristas she’s looking for a Wi-Fi connection because she was about to interview retired Supreme Court Associate Justice Antonio Carpio via Zoom.
The coffee shop, a known world brand, has Wi-Fi exclusive to its employees, so the old lady was told to try other establishments. She went from one coffee shop to another only to be told the same, until a kind stranger led her to a well-known beauty salon with a free internet connection.
The lady salon attendant was very accommodating to the octogenarian, even typing the password on her IPad. Of course, she needed to avail herself of their salon services. Initially, she opted for a haircut, but since she needed to talk and hear clearly who she was talking to, she settled for a foot spa with pedicure.
“They lowered the volume of the piped-in music, and since there were less customers because it’s been raining all day, I was able to do my interview,” Guidote-Alvarez said.
For the next half-an-hour, the hair dressers and manicurists working with their scissors, nail clippers and cuticle removers on their customers’ hair and fingernails, listened to Carpio and Guidote-Alvarez discussed how Filipino fishermen and the Philippine Navy ships helplessly negotiate their ways in Scarborough Shoal amid the territorial disputes in the West Philippine Sea.
“They were all very nice to me. I was able to finish my interview, with newly pedicured nails,” she told The Diarist.
For those who’ve worked with Guidote-Alvarez, her steadfast, almost stubborn, nature to accomplish a task, is nothing out of the ordinary. She would improvise, find alternatives, call up friends and former students, wake them up from sleep, just to get things done.
But now, in her 80s, legally blind and nearly deaf, she has mellowed down.
Cecile Alvarez with her mentors, National Artist for Literature Alejandro Roces, Jr and Fr. James Reuter. SJ
In her twilight years, Guidote-Alvarez has been solely hosting the 57-year-old Radyo Balintataw on DZRH, one of the oldest radio stations in the Philippines, where she tackles a wide range of topics, from climate change, women’s health, theater, culture, dance, to current issues, apart from playing old recordings of classic radio plays she produced and directed, dating back to the late ‘80s.
She shared with TheDiarist.ph how she started and continues to host one of the longest running advocacy programs on AM Radio.
Theater on TV
After founding the Philippine Educational Theater Association (PETA) on April 7, 1967, or exactly 57 years ago, Guidote-Alvarez thought of the need to expose PETA’s members to television, so she started conceptualizing Balintataw, which in Filipino means the pupil of the eye, but in a larger context has something to do with having wild imagination, or what you might see if you have a third eye.

“I designed Balintataw as a bridge between cinema and the stage, where the youth being trained in theater skills can have a ready-made laboratory experience linked with the film and entertainment industry that would likewise have a natural on-the-job training and orientation regarding the theatrical discipline of working with a literary script, whether dramatic or comic—not the regular improvised script done on taping or copycat scripts from foreign themes,” Guidote-Alvarez wrote in her yet-to-be published Memoir of a Freedom Fighter’s Wife.
“A primary goal when I conceived PETA was to initiate and sustain artistic expression that draws meaning and power from the lives of the people, and sharing the literary gems with a greater number of audiences through a Broadcast Theater-Film Program with Balintataw on Channel 5,” she added.
“No matter how little the pay, at least it provided our local writers with a little honorarium. I sought permission for award-winning pieces of the Palanca Playwriting contest to be fleshed out to reach the masses. The much-awarded playwright Bert Florentino served as our literary manager, assisted by Mauro Avena. Eventually, Isagani Cruz took over when Bert left for the US,” she wrote.
“Writers need exposure and encouragement through a regular TV performance that will give them a sense of achievement and inspire them to keep on writing with some kind of honorarium. I was glad Lupita Aquino (now Kashiwahara) agreed to be TV director and Robert Arevalo as TV host.
She got members of the PETA Kalinangan Ensemble to serve as stage directors. “This is to undertake preliminary preparation with a rehearsal with the actors for character development and memorization and preliminary staging,” she wrote.
Five months after PETA was founded, Balintataw TV premiered on Channel 5 on Aug. 19, 1967, coinciding with the Buwan ng Wika birthdate of President Manuel Luis Quezon.
The first play, whose title escapes her now, featured Armida Siguion-Reyna and Maria Eva “Chingbee” Kalaw. She employed photo journalist and award-winning photographedocumentarist/cinematographer, Romy Vitug, to work with her in filming outdoor scenes for Balintataw.

In the pre-Martial Law Balintataw, among those initiated into television were Lino Brocka, Elwood Perez, Nick Lizaso, Maryo delos Reyes, Mario O’Hara, Joey Gosiengfiao, Behn Cervantes, and Frank Rivera.
Among the stage actors who crossed over to television were Lily Gamboa, Angie Ferro, Lorlie Villanueva, Jonee Gamboa, Joy Soler, Sherry Lara, Gardy Labad, Noel Trinidad.
Like with PETA, Guidote-Alvarez directed and managed Balintataw for five years. Because of Martial Law, she and husband Heherson went on exile in the US to escape a military shoot-to-kill order on Heherson, who was tagged as a subversive.
Post-Martial Law
Internationally acclaimed auteur Lav Diaz mentioned in several interviews how he learned writing radio and TV scripts in Balintataw.
This happened in the late 1980s, when the Alvarez couple returned from exile.
Despite its absence on the air in the Martial Law years, Balintataw was honored by Star Awards as among the 20 unforgettable outstanding broadcast programs in the Philippines.
“This encouraged me to consider reviving Balintataw on TV. Another blessing was a FAMAS award for having an important role in the development of cinema recognizing Balintataw as a bridge for synergizing cinema with the stage, providing a pathway of entry of our PETA artists into film and for movie stars to consider enriching their experience by acting on the legitimate stage,” Guidote-Alvarez wrote.
Though she didn’t return to PETA anymore because it had been surviving well and had its own set of officers led by Brocka, she just tapped some of its members for the return of Balintataw.
For 14 years, the Alvarez couple lived in the US as political exiles, shown here during a Ninoy Aquino Movement meeting. Cecile revived Radyo Balintataw upon their return in the late 1980s.
Channel 4 stint
“I arranged to revive TV Balintataw on Channel 4 in 1989. We began with a drama about a rebel returnee, title escapes me now, but I clearly remember it was written by Lualhati Bautista and directed by Maryo de los Reyes. We also had a good story series on the hazing of Lenny Villa, an Aquila Legis Frat neophyte,” she wrote.
At the time, Heherson had been elected senator after having served as Agrarian Reform Minister and eventually Cabinet Secretary during the first year of the Cory Aquino Administration.
“We were able to unravel the deadly hazing process from a fellow neophyte who broke the code of silence as we revealed graphically, acted the cruel process used. I had Jose Mari Avellana direct it. This presentation won all the awards. Lav Diaz was training with us and he started writing teleplays. We also had Nora Aunor in an adaptation of Bert Florentino’s The World Is An Apple, adapted by Frank Rivera, and I had Nick Lizaso direct.”

Emmy Awards
Balintataw TV was selected as one of five soaps for social change recognized by Emmy Awards. The Philippines was one of five countries cited, with Mexico, India, Brazil and Kenya.
“The nomination was made possible by the wonderful support from David Poindexter. It was a supreme honor for our country to be recognized in the Emmy Awards, to be cited among the five Third World countries using soap opera for social change.”
Poindexter was a Methodist minister and TV producer who founded the Population Communications International.
Surviving on radio
“In spite of the cry about how television can be deadening the minds of the people with copied themes with an eternal favorite love triangle story, there was really no funding for Balintataw,” she wrote.
“Sponsors would go naturally to the commercial stations where big stars were paid highly for the starring role. Balintataw may have substance but we could not afford payment of bankable stars,” she added.
“Financial stress forced me to drop TV and remain on radio because I didn’t want to kill Balintataw per se just because we didn’t have funds.”
Creative classroom
“We have focused on Balintataw as a creative classroom on the air. I was able to talk to Fred J. Elizalde of DZRH and the president of the network, Mr. Jun Nicdao,” she wrote.
In the ‘80s, the HIV/AIDS became a global epidemic and in the Philippines, the general populace was still clueless on how to deal with it.
“In order to get funding, the first series I did was about the explosive news regarding AIDS in Asia. I got the DOH Secretary at the time, Dr. Juan Flavier, to act as himself, providing the data. It was easier to start off with an AIDS radio serial.
They did a minimum of 13 episodes to raise awareness about the disease.
“From then on, some of our television scripts we transformed into a radio version. DZRH provided us with our initial production staff, so we used some from the network and some of its resident artists and drama talents. Our time slots were changing but always coming after the long-running horror drama, Gabi ng Lagim.
“We worked on the themes of overseas workers, the drug problem, corruption, aside from portraying contemporary and literary classics serving as social commentaries,” she wrote.
Women playwrights
“We dramatized the works of noted women writers and playwrights like Estrella Alfon, Genoveva Edroza Matute and Marilou Jacob, who is distinguished in being a founding president of Women’s Playwright International.
“Apart from our PETA staple of writers, we involved young, upcoming and budding university and community theater groups.
“We also had a lot of foreign plays, where we could feature theater festivals beyond borders. We could do Shakespeare, we could do Euripides but also the current playwrights in the Arab region we translated in our language.
“We brought in Chinese contemporary plays, Malaysian, Indonesian and from other women writers from ASEAN member countries.”
Virtual history book
“The significance of Balintataw is portrayed as a virtual history book on audio as it unveiled events in the country. Radio is fresh, instant and up-to date,” she added.
When the COVID-19 pandemic struck, Balintataw became Guidote-Alvarez’s outlet and therapy. Having lost her husband on the second month of the pandemic, a widow cocooned at home, she began hosting it six days a week, learning how to use an iPad and interviewing via Zoom.
The word “Balintataw” has been associated with her name.
Visual artist and editorial cartoonist Benjie Lontoc in casual meeting told us how in his younger days, when AM Radio was a national past-time, he was surprised to hear a Filipino adaptation of No Exit by Jean Paul-Sarte. This was when radio was airing soap, fantasy adventures targeting housewives and children.
Another was the airing of Larawan as a radio play in the 1990s, with Guidote-Alvarez as the voice of Candida Marasigan.
Leopoldo Salcedo (left) as Manolo in a confrontation scene with Dante Rivero as Tony Javier in PETA’s 1968 ‘Larawan’ directed by Cecile Guidote-Alvarez. (Photo from PETA archives)
In the 1960s, she directed Larawan, the first Filipino adaptation of Joaquin’s A Portrait of the Artist as Filipino for PETA’s second season. It ran from December 1968 to January 1969 at the Raha Sulayman Theater at Fort Santiago in Intramural. In the cast were Rita Gomez (Candida), Lolita Rodriguez (Paula), Leopoldo Salcedo (Don Manolo) and Dante Rivero (Tony Javier).
Guidote-Alvarez has a funny recollection of the radio play. It was Nick Joaquin himself who told her years ago how his pedicurist suddenly started a conversation about Larawan.

Joaquin was relaxing on the barber’s chair having a post-haircut pedicure and foot spa when the lady pedicurist asked him how the story would end. Joaquin was stunned because he didn’t want to be known in the barber shop as Nick Joaquin the famous National Artist for Literature, but just a regular customer.
“He told me he almost fell out from the chair. He was a very private person and the pedicurist recognized him as the playwright,” Guidote-Alvarez, laughing, told TheDiarist.ph.
When she was first diagnosed with breast cancer in 2000, she was given only three years to live. It’s been more than two decades since then. She has also conquered COVID-19 twice.
Over and beyond her work in theater and various advocacies, Guidote-Alvarez is among the few surviving practitioners of AM Radio broadcasting.
The beauty salon incident wasn’t a first for the octogenarian radio host. She occasionally went back there to interview guests and record her shows whenever Wi-Fi connections in her home fluctuated.
Despite all setbacks, man-made or otherwise, the steadfast Cecile Guidote-Alvarez’s voice continues to be heard in this mass media platform in an era that knows mainly Spotify. As Joaquin wrote, “to remember and to sing, that is her vocation.”
(Except Saturday, Radyo Balintataw airs daily on DZRH 666 Khz AM radio after ‘Gabi ng Lagim’, and live streamed on radio.org.ph. Some episodes have been uploaded on YouTube.)