Accomplishing digital transformation with low-code development involves leveraging the capabilities of low-code platforms to streamline and enhance the entire process of digitization. Here are key steps and strategies for effectively using low-code to achieve digital transformation:

1. Identify Key Areas for Transformation

• Assess Business Processes: Identify which business processes would benefit most from digitization. Look for areas with high manual effort, repetitive tasks, or those that require real-time data access.
• Set Clear Objectives: Define the goals of your digital transformation efforts. Whether it’s improving customer experience, increasing operational efficiency, or driving innovation, having clear objectives will guide your low-code initiatives.

2. Choose the Right Low-Code Platform

• Evaluate Platform Features: Ensure the chosen platform supports necessary functionalities such as drag-and-drop interfaces, pre-built templates, and robust integration capabilities.
• Scalability and Security: Select a platform that can scale with your business needs and adheres to security standards to protect sensitive data.

3. Empower Citizen Developers

• Training and Support: Provide training for business users to effectively use low-code tools. Offer continuous support and resources to encourage adoption.
• Create a Collaborative Environment: Foster collaboration between IT professionals and citizen developers to combine business insights with technical expertise.

4. Start with Pilot Projects

• Quick Wins: Begin with smaller, manageable projects that can be completed quickly to demonstrate the value of low-code development.
• Iterative Development: Use an iterative approach to develop, test, and refine applications. This ensures flexibility and allows for adjustments based on feedback.

5. Integrate with Existing Systems

• APIs and Connectors: Utilize the low-code platform’s integration capabilities to connect with existing enterprise systems, databases, and third-party services.
• Data Consistency: Ensure data integrity and consistency across integrated systems to provide accurate and real-time information.

6. Focus on User Experience

• Design Thinking: Apply design thinking principles to create user-centric applications. Focus on intuitive interfaces and seamless user experiences.
• Feedback Loops: Continuously gather feedback from end-users to make iterative improvements and ensure the applications meet their needs.

7. Measure and Optimize

• Performance Metrics: Establish KPIs to measure the success of your low-code initiatives. Track metrics such as development time, user adoption, and business impact.
• Continuous Improvement: Use the insights gained from performance metrics to make data-driven decisions and optimize applications continuously.

8. Ensure Governance and Compliance

• Governance Framework: Implement a governance framework to oversee the development and deployment of low-code applications. Ensure adherence to best practices and organizational standards.
• Compliance: Ensure that all applications built on the low-code platform comply with relevant regulations and industry standards.

9. Scale and Expand

• Broaden Application Scope: Once initial projects are successful, expand the use of low-code to more complex and mission-critical applications.
• Enterprise-Wide Adoption: Promote the adoption of low-code development across the organization to drive widespread digital transformation.

10. Foster a Culture of Innovation

• Encourage Experimentation: Create an environment where experimentation and innovation are encouraged. Allow teams to explore new ideas and approaches using low-code tools.
• Recognize and Reward: Recognize and reward successful low-code projects and contributions, motivating employees to engage in digital transformation efforts.

By following these steps and strategies, organizations can effectively leverage low-code platforms to accelerate their digital transformation journey, enabling them to stay competitive and responsive in an ever-evolving digital landscape.
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Now that Himawari got the 9 tails chakra, I would like to see Shikadai guide her and Chocho in the battle showing off his IQ.
Next we saw Sarada facing off against the Sasuke Juubi, I want Konohamaru to shine aswell.
I don't want to see over complications in the next chapter, just some good fight sequence.
I think its better to see Kawaki and Boruto at end of chapter 11, this way the others can get some major glow up in terms of scaling because till now we only saw Boruto's and Mitsuki's power.

I tried to change the var thingy but seems like it's unrelated. In this case, if driver's x is 0,13, shape key should be 1
https://preview.redd.it/cy96fvxc8r1d1.png?width=1920&format=png&auto=webp&s=6627b5369ce974a20e8cc43534f5a0ea78182496

My problem is that the entire back of the polaroid camera is very smooth, like a continuous shape that morphs between the light barrel and the viewfinder. I tried to come up with a few solutions, but they don't match very well when compared to the references. What can I learn/do to replicate the effect my Polaroid camera has as accurately as possible?

This is my Madness Combat ranking. This is entirely my personal opinion. I have watched this series since around 2004 on Newgrounds, and a huge supporter of Krinkels' work. So I must point out that I do not believe a single episode is bad. I believe all of the episodes are top tier, this is just my ranking of where I think they stand out in terms of quality, length, story, music/sfx etc.. So if you see your favourite episode low down, just remember it's not bad, I just feel that there may be an episode that's better! This is also just the mainline series, so no canon shorts such as An Experiment or Dissenter, Marshmallow Madness, and no Dedmos Adventures. Although if I had to rank Dedmos in this list, it'd probably come 4th place, or something. This was a hard ranking, given how amazing each episode is, so having the canon shorts/spin-offs would be more difficult, given how much Krinkels' artstyle and animation has improved since Madness 11. The earlier rankings are going to be the hardest, but I will put nostalgia aside and rank based on quality and other factors.
15. Madness Combat
In last place, kind of predictable, but the first episode. Obviously just because nostalgia aside, every episode that came after it has raised the bar in so many ways. However, we mustn't forget the classic soundtrack, the lack of blood, the first canon entry of Jeb and Hank, a literal cannon - this is where it all started. It knows what it is, it's a classic. It's where Madness began.
14. Madness Redeemer
Again like before, an absolute classic and it's where I believe that Madness Combat in its current form truly began. We've got introductions of the Sheriff, The Clown, Jeb was brought back. This is also where the Tricky Saga started to take shape. Again I do feel that everything that came after it was just better in quality, but there is loads to love about Redeemer.
13. Madness Combat 7.5
May be a bit controversial, but 7.5 ranks lower. I think it's universally agreed that 7.5 is the least interesting .5 episode. It doesn't feel like it contrasts well with the zaniness and horror of Madness 7. In some capacity, I feel that you need to pair the .5's with their mainline counterparts, and this episode, whilst good, is just the opposite of Consternation. The soundtrack is also one of my least favourites. This one just felt a bit like a filler episode. It's still a great entry, especially given the time it came out, but I'd say this is the most 'run of the mill' episode pre-modern Krinkels.
12. Madness Avenger
Avenger is very much a classic. This is where the Improbability Drive was introduced and the main story started to take shape. I think Redeemer is where the violence and John Wick style animation began, but I feel the story truly jumped after Avenger. This was the second episode I ever watched and I still hold it in very high regard. I think this is the episode people think of when someone says 'Madness Combat', if you were skulking around Newgrounds back in the early 00's.
11. Madness Depredation
Depredation was the 3rd episode I ever watched. I remember seeing the thumbnail plastered everyone on flash animation websites. This is where Hank got his iconic look - this episode is just batshit crazy. If someone mentions Madness Combat and you don't think of Avenger or Consternation, then you probably remember the Depredation and onward looks. There's just so much to love here. The hard pounding soundtrack from Cheshyre let's you know that this is hardcore. Removing the nostalgia I'd say it doesn't have a lot to offer in terms of story until the very end, but man when this came out it was one of my favourites and still is, I just believe that the other episodes have a lot more to say.
10. Madness Inundation
When this first came out, it was sort of controversial, if I remember correctly. With Hank dead at the end of Consternation, I saw tons of comments and forum posts, including some from myself... is Hank coming back? Is this the end? No one really predicted that Jeb would get his own episode, and looking back, I love this episode. I wasn't a huge fan back in 2008, and I would have ranked it near the bottom just out of spite for not getting Hank. But this episode, looking at it today, is brilliant. Jeb is such a cool protagonist, being able to fly, use his powers, catch bullets, the iconic sniper rifle opening, API's soundtrack. The Magnum. I could go on, honestly. I think this is one of the highlights of the series, because at the time, we genuinely thought this was the final episode, and Krinkels' posts, or lack thereof, around that time, sort of gave the impression that this would be the case. The episode feels very much centred around doom, and the end of things as we know it, especially during normality restoration. I think this is where subtle hints surrounding the Madness universe (or Nevadean universe... maybe?) started to take shape. Thankfully, it wasn't the end. It was unfortunately, so far, the end of Jeb, which is a damn shame. I hope Krinkels reconsiders down the line, but for now, he joins the Sheriff being the only two characters to die, seemingly forever, and go to "regular Hell".
9. Madness Apotheosis
Apotheosis is the very first episode I watched back in 2004, so naturally I do have some tiny amount of bias. This is where Krinkels found his footing - quite literally. Characters now have two feet, animation is a lot smoother, another iconic bandage look from Hank following Avenger... again, before getting Depredation, similar to Inundation as well, this truly looked like the end.
8. Madness Combat 5.5
This may also be controversial. But I firmly believe 5.5 is actually better than the episode it's structured around. Again, these earlier rankings are hard as I am trying to not see it through nostalgia, but rather quality. I think 5.5 just has so much to say, the iconic opening, mixed with the soundtrack. It fits perfectly with the lore, and actually makes Depredation a much better episode. Again, the issue with Depredation is that the intro is just run of the mill, up until the mid-point and ending, which only serves, at the time, a continuation in the form of Antipathy. 5.5 is where things tied together very nicely. This is also the introduction of Sanford and Deimos who would go on to become much loved characters in the Madness canon. Given how they just seem like random grunts in Depredation (which, at the time, they likely were), Krinkels managed to give them a whole side quest, which ties in very nicely with the main story. It's also the first time where two protagonists are on screen and are actually doing something, which I'll explain later. Other than that, great episode!
7. Madness Antipathy
The sixth Madness episode is also quite the anomaly. What I failed to realise as a kid is that each episode pretty much ends on a somewhat cliffhanger, but a cliffhanger where it could continue, and it also doesn't have to. 2006 was a huge year for animated sequels, with Madness 6, Killing Spree VI and Joe Zombie: Episode 6, ironically, all the 6's. There's a few others to mention, but we'd be here all day. I love Hanks look in this episode, with his exposed jaw after being pummelled to heck by Tricky in episode 5. The stab wound with the smiley face. Just do what comes natural. Have to mention while I love Cheshyre's Trainmadness soundtrack, we also have to give a shoutout to the creepy opening music MADNEWAT, and API's fast, twitchy techno music in the first half. I mention this because Hank seems very twitchy in this episode, and I love it. It's also carried over in 9.5 too, which is nice to see. The gore is great, especially with the axe and P90 at the end, the train, Jeb working a normal job post Depredation... I think this is where Madness truly reached the point of 'crazy' and set the stage for every episode that came after it.
6. Madness Aggregation
Aggregation is the 9th episode in the Madness canon, and was certainly a surprise to see. This is Krinkels' experimental phase, and you can see it throughout the episode. It was the first episode (if I remember correctly) to have two protagonists on screen at the same time (or three, if you count dead/carried Hank). This is where my problems begin, however. You can certainly tell it was the first time, a lot of my issues with this episode center around Sanford or Deimos sort of standing around doing nothing whilst the other is causing mayhem. Apart from that though, it was nice to see them again, especially after watching the .5's years later. On rewatch, I hold it in much higher regard now that we have context for the canon. This is also where Hank is revived and would set up another event in the form of 9.5 later down the line. It is weird to see Hank as a Mag, and it's doubly sad to see that Deimos did not make it, but this episode is baller. The soundtrack as well, definitely fits the opening with our heroes driving and evading enemies. I can't pinpoint it, but the soundtrack definitely feels like a dual protagonist sound. In terms of story, it sticks very well.
5. Madness Combat 6.5
There is so much to love about 6.5. I think it's honestly the best .5 episode pre-Madness 11 era. 2009-2011 was a very experimental phase, but it definitely paid off. I just love how seamlessly 5.5 and 6.5 come together when watched one after the other, or in one big video (props to the folks who put those 'In Real-time' videos together). The wounded Sanford, the train tracks, it certainly gives a lot of context for what is going on, wordlessly. This is where they started to get their iconic looks. Whilst 7.5 didn't really offer anything substantial, 5.5 and 6.5 are truly magnificent episodes that are held in high regard. The reason I ranked 5.5 lower is that it's just to give you an idea of what's happening around Depredation and Antipathy, whereas 6.5 feels like its own episode. The soundtrack is one of my favourites too. The animation was getting more and more fluid, and given that this came out before Madness 10, it's quite amazing how much of the animation style here is carried over into the later episodes.
4. Madness Consternation
Episode 7 is one of my all-time favourites, for sure, and I think this rings true for a lot of people in the community. Even though it's not ranked at number 1, I'd still say it's among my personal favourite episodes. The soundtrack and eerie vibe of the demonic Clown gives the episode a real horror angle that I always scared me in a way, as a kid. There's also things I never noticed back in 2007, that I notice today, such as 'DISSENTER BE DAMNED' written on the walls where the spiked agents are. This is cool nowadays since 9.5 expands on retention and dissenters, so even though it may not have been intended at the time (or if it was, Krinkels was certainly quiet about it), it tells a lot without any words and fits the story very nicely. Again, it's another pick for my "this is the Hank you think about when someone mentions Madness Combat" list. There are so many. But I love Hank's ninja wraps and red goggles. I feel this is when his image improved each episode. Cheshyre's Madness7 soundtrack is close to my all time favourite, and I still blast it in the car to this day. Also, chainsaw Hank is MVP.
3. Madness Expurgation
This might be a little controversial depending on who you ask, but I think Expurgation fits nicely in 3rd place within this ranking. It's one of my favourites and is probably one of the craziest episodes to date. I think the issue I have with this episode is the lack of blood. I think Madness has always been memorable for the amount of gore, blood and ways that the enemies are killed. I don't have an issue with the black blood from the clown minions, but the gore just feels a bit lessened here, in my opinion anyway. That, however, does not stop this from being an all time great. 7 years, 7 months and 7 days, and it was well worth the wait after being teased for so long. This is truly a highpoint in the Madness canon, where things looked vulnerable in-universe. I know things have always looked shaky given how each episode ends, but seeing the Auditor all messed up and trying to make a deal with Hank and Sanford to remove the Clown, it sets up Madness Combat 12 nicely. The audio and SFX is a major improvement and would become a standard in later animations. The soundtrack, 'Expurgation', from our saviour Cheshyre is again one of the best soundtracks. It gives a sense of hopelessness, this is even more apparent when Sanford yells out in frustration when he is cornered by Tricky, but then hope is restored when Hank returns with a new metal arm, and the soundtrack hits even harder. I do feel like the fight at the end could have been a bit more interesting, and a lot could have happened, but then again, Krinkels worked on this thing for 7 years, so I'll give him a pass on that. Also love the way the episode begins with Hank and Sanford climbing down the ladder from MC10, haha. All in all, one of my favourites.
2. Madness Abrogation
I think Madness Combat 10 is easily one of the best episodes. This thing came out in 2011, but it could have come out in 2016 or something and I'd have been none the wiser. The sheer rise in quality is undeniable. Like I said before, my issues with Aggregation stem from a quality perspective, where one or more characters sort of stand around doing nothing whilst another character is off doing something. When rewatching MC9, it becomes more and more apparent and I can't unsee it. MC5.5 and 6.5 was a period of time where Krinkels was able to hash this out and I think this all came together in MC10, for sure. The animation is very expressive and fluid, there's not a single point where the protags are just standing still or doing nothing (except for when Hank is pushed into the wall by the Mag and when he pulls the lever for Sanford, but I'll give this a pass). The episode feels very alive, due in part to the expressiveness, such as Hank and Sanford playing rock paper scissors to determine who dives into The Auditor's construct first. Naturally, it's our boy Hank. And that soundtrack? Come on, it's easily my personal favourite in the whole series. I think where MC9 toned it down to suit a more slow paced episode, MC10 ramps it up where it sounds like alarms are ringing, as if to say "we've go to go, quick!", and the part of the song where a portion of Madness7 is played, followed by a remix of Crazy Clown Song of Death from MC5, truly amazing. Cheshyre did a beastly job here, and as usual, breathed some serious life into this episode. It's by far the episode I come back to the most, there is just so much to love here. Again, you'd have no idea that MC10 and MC11 are 7 years apart. I wish I could say more, and to be honest I would I could say more on ALL the episodes, but we'd be here all day. MC10 is a classic, hands down.
1. Madness Combat 9.5
This might've been expected, or not expected, I don't know. But MC9.5 is easily the best episode to date. I'll also be ranking both parts as one whole episode. I can't actually tell you which part I prefer the most, as it takes two of my favourite looking Hanks and puts them into the same episode. Following Dedmos and the anticipated release of MC12, I would say that this is Krinkels' magnum opus. In terms of sheer quality, the amazing sound design, and again we cannot forget how much life is pumped into these animations by Cheshyre. I'd say I prefer Part 1's soundtrack over Part 2. I think given how fast MC6 Hank is, I would be inclined to say Part 1's fast paced soundtrack fits that version of Hank the most, but that's just a personal preference.
Anyway, the most noticeable thing off the bat is the sleek, crisp art design. It's rugged, detailed, and is by far Krinkels' best work. It truly feels like a massive overhaul to the design of the characters and world around them. Again, the expressiveness is huge, such as Hank making fun of the ATP Soldat gesturing with his hand, pointing towards the eyes, and this is even more interesting because it's the first time Hank meets them chronologically. It feels very fluid, and everything looks like it has real weight to it. This is also enhanced by the amazing sound design, for a mask that drops onto the floor, or the clicking of the guns. The horror feel from MC7 is truly back here, as well. Part 2 specifically where Tricky just goes into beast mode, it very much caught me off guard. MC9.5 also gives us an interesting look at how 'the other place' works, and how the Madness universe works as a whole. It's implied when you die, you end up in this sort of purgatory hellscape, and it does all of this story telling wordlessly. Ironically, I feel that Part 1 is actually more of a 7.5 than the original 7.5, for the obvious reason that 9.5 starts after Hank is killed in MC7. So many little details in 9.5 make it feel so authentic, such as the very end when Hank is revived, and you can faintly hear gunshots in the background, the moment where Deimos is killed. I have so much more to say but again, we'll be here all day. All in all, this is by far the best MC episode to date in terms of quality, audio, story and the new art style will be one of the driving forces moving forward.
So, that's my personal ranking of Madness Combat episodes. Again, I love every single episode, so if there's a ranking you disagree with, just remember it's my personal opinion and in my head, they are all number 1. Submit your rankings, and let me know your thoughts, and where you'd rank the episodes!

"Why Did Jesus Die on the Cross?"

The main reason Jesus died on the cross was to defeat Satan and set us free from his oppressive rule. Everything else that Jesus accomplished was to be understood as an aspect and consequence of this victory (e.g., Recapitulation, Moral Influence, etc.).
This understanding of why Jesus had to die is called the Christus Victor (Latin for “Christ is Victorious”) view of the atonement. But, what exactly was Christ victorious from, and why? To find out the answers to these questions, we have to turn to the Old Testament, as that's what the apostles would often allude to in order to properly teach their audience the message they were trying to convey (Rom. 15:4).
The OT is full of conflict between the Father (YHVH) and false gods, between YHVH and cosmic forces of chaos. The Psalms speak of this conflict between YHVH and water monsters of the deeps (an ancient image for chaos) (Psa. 29:3-4; 74:10-14; 77:16, 19; 89:9-10; 104:2-9, etc).
The liberation of Israel from Egypt wasn’t just a conflict between Pharaoh and Moses. It was really between YHVH and the false gods of Egypt.
Regardless of whether you think the aforementioned descriptions are literal or metaphorical, the reality that the Old Testament describes is that humanity lived in a “cosmic war zone.”
The Christus Victor motif is about Christ reigning victorious over wicked principalities and Satan's kingdom, and is strongly emphasized throughout the New Testament. Scripture declares that Jesus came to drive out "the prince of this world” (John 12:31), to “destroy the works of the devil” (1 John 3:8), to “destroy him that had the power of death, that is, the devil” (Heb. 2:14) and to “put all enemies under his feet” (1 Cor 15:25). Jesus came to overpower the “strong man” (Satan) who held the world in bondage and worked with his Church to plunder his "palace" (Luke 11:21-22). He came to end the reign of the cosmic “thief” who seized the world to “steal, and to kill, and to destroy” the life YHVH intended for us (John 10:10). Jesus came and died on the cross to disarm “the principalities and powers” and make a “shew of them openly [i.e., public spectacle]” by “triumphing over them in [the cross]” (Col. 2:15).
Beyond these explicit statements, there are many other passages that express the Christus Victor motif as well. For example, the first prophecy in the Bible foretells that a descendent of Eve (Jesus) would crush the head of the serpent (Gen. 3:15). The first Christian sermon ever preached proclaimed that Jesus in principle conquered all YHVH's enemies (Acts 2:32-36). And the single most frequently quoted Old Testament passage by New Testament authors is Psalm 110:1 which predicts that Christ would conquer all YHVH’s opponents. (Psalm 110 is quoted or alluded to in Matthew 22:41-45; 26:64, Mark 12:35-37; 14:62, Luke 20:41-44; 22:69, Acts 5:31; 7:55-56, Romans 8:34, 1st Corinthians 15:22-25, Ephesians 1:20, Hebrews 1:3; 1:13; 5:6, 10; 6:20; 7:11, 15, 17, 21; 8:1; 10:12-13, 1st Peter 3:22, and Revelation 3:21.) According to New Testament scholar Oscar Cullman, the frequency with which New Testament authors cite this Psalm is the greatest proof that Christ’s “victory over the angel powers stands at the very center of early Christian thought.”
Because of man's rebellion, the Messiah's coming involved a rescue mission that included a strategy for vanquishing the powers of darkness.
Since YHVH is a God of love who gives genuine “say-so” to both angels and humans, YHVH rarely accomplishes His providential plans through coercion. YHVH relies on His infinite wisdom to achieve His goals. Nowhere is YHVH's wisdom put more on display than in the manner in which He outsmarted Satan and the powers of evil, using their own evil to bring about their defeat.
Most readers probably know the famous story from ancient Greece about the Trojan Horse. To recap the story, Troy and Greece had been locked in a ten-year-long vicious war when, according to Homer and Virgil, the Greeks came up with a brilliant idea. They built an enormous wooden horse, hid soldiers inside and offered it to the Trojans as a gift, claiming they were conceding defeat and going home. The delighted Trojans accepted the gift and proceeded to celebrate by drinking themselves into a drunken stupor. When night came and the Trojan warriors were too wasted to fight, the Greeks exited the horse, unlocked the city gates to quietly let all their compatriots in, and easily conquered the city, thus winning the war.
Historians debate whether any of this actually happened. But either way, as military strategies go, it’s brilliant.
Now, there are five clues in the New Testament that suggest YHVH was using something like this Trojan Horse strategy against the powers when he sent Jesus into the world:
1) The Bible tells us that YHVH's victory over the powers of darkness was achieved by the employment of YHVH’s wisdom, and was centered on that wisdom having become reality in Jesus Christ (Rom. 16:25, 1 Cor. 2:7, Eph. 3:9-10, Col. 1:26). It also tells us that, for some reason, this Christ-centered wisdom was kept “secret and hidden” throughout the ages. It’s clear from this that YHVH's strategy was to outsmart and surprise the powers by sending Jesus.
2) While humans don’t generally know Jesus’ true identity during his ministry, demons do. They recognize Jesus as the Son of God, the Messiah, but, interestingly enough, they have no idea what he’s doing (Mark 1:24; 3:11; 5:7, Luke 8:21). Again, the wisdom of YHVH in sending Jesus was hidden from them.
3) We’re told that, while humans certainly share in the responsibility for the crucifixion, Satan and the powers were working behind the scenes to bring it about (John 13:27 cf. 1 Cor. 2:6-8). These forces of evil helped orchestrate the crucifixion.
4) We’re taught that if the “princes of this world [age]” had understood the secret wisdom of YHVH, “they would not have crucified the Lord of glory” (1 Cor 2:8 cf. vss 6-7). Apparently, Satan and the powers regretted orchestrating Christ’s crucifixion once they learned of the wisdom of YHVH that was behind it.
5) Finally, we can begin to understand why the powers came to regret crucifying “the Lord of glory” when we read that it was by means of the crucifixion that the “handwriting of ordinances that was against us, which was contrary to us [i.e., the charge of our legal indebtedness]” was “[taken] out of the way [i.e., canceled]” as the powers were disarmed. In this way Christ “triumph[ed] over” the powers by "his cross” and even “made a shew of them openly” (Col. 2:14-15). Through Christ’s death and resurrection YHVH's enemies were vanquished and placed under his Messiah's feet, and ultimately His own in the end (1 Cor. 15:23-28).
Putting these five clues together, we can discern YHVH's Trojan Horse strategy in sending Jesus.
The powers couldn’t discern why Jesus came because YHVH's wisdom was hidden from them. YHVH's wisdom was motivated by unfathomable love, and since Satan and the other powers were evil, they lacked the capacity to understand it. Their evil hearts prevented them from suspecting what YHVH was up to.
What the powers did understand was that Jesus was mortal. This meant he was killable. Lacking the capacity to understand that this was the means by which YHVH would ultimately bring about the defeat of death (and thus, pave the road for the resurrection itself), they never suspected that making Jesus vulnerable to their evil might actually be part of YHVH's infinitely wise plan.
And so they took the bait (or "ransom"; Matt. 20:28, Mark 10:45, 1 Tim. 2:5-6). Utilizing Judas and other willing human agents, the powers played right into YHVH’s secret plan and orchestrated the crucifixion of the Messiah (Acts 2:22-23; 4:28). YHVH thus brilliantly used the self-inflicted incapacity of evil to understand love against itself. And, like light dispelling darkness, the unfathomably beautiful act of YHVH's love in sending the willing Messiah as a "ransom" to these blood-thirsty powers defeated them. The whole creation was in principle freed and reconciled to YHVH, while everything written against us humans was nailed to the cross, thus robbing the powers of the only legal claim they had on us. They were “spoiled [i.e., disempowered]” (Col. 2:14-15).
As happened to the Trojans in accepting the gift from the Greeks, in seizing on Christ’s vulnerability and orchestrating his crucifixion, the powers unwittingly cooperated with YHVH to unleash the one power in the world that dispels all evil and sets captives free. It’s the power of self-sacrificial love.

Why Penal Substitution Is Unbiblical

For the sake of keeping this already lengthy post as short as possible I'm not going to spend too much time on why exactly PSA (Penal Substitutionary Atonement) is inconsistent with Scripture, but I'll go ahead and point out the main reasons why I believe this is so, and let the reader look further into this subject by themselves, being that there are many resources out there which have devoted much more time than I ever could here in supporting this premise.

"Purge out therefore the old leaven, that ye may be a new lump, as ye are unleavened. For even Christ our passover is sacrificed for us:"-1 Corinthians 5:7

The Passover is one of the two most prominent images in the New Testament given as a comparison to Christ's atonement and what it accomplished, (the other most common image being the Day of Atonement sacrifice).
In the Passover, the blood of the lamb on the door posts of the Hebrews in the book of Exodus was meant to mark out those who were YHVH's, not be a symbol of PSA, as the lamb itself was not being punished by God in place of the Hebrews, but rather the kingdom of Egypt (and thus, allegorically speaking, the kingdom of darkness which opposed YHVH) was what was being judged and punished, because those who were not "covered" by the blood of the lamb could be easily identified as not part of God's kingdom/covenant and liberated people.
Looking at the Day of Atonement sacrifice (which, again, Christ's death is repeatedly compared to throughout the New Testament), this ritual required a ram, a bull, and two goats (Lev. 16:3-5). The ram was for a burnt offering intended to please God (Lev. 16:3-4). The bull served as a sin offering for Aaron, the high priest, and his family. In this case, the sin offering restored the priest to ritual purity, allowing him to occupy sacred space and be near YHVH’s presence. Two goats taken from "the congregation” were needed for the single sin offering for the people (Lev. 16:5). So why two goats?
The high priest would cast lots over the two goats, with one chosen as a sacrifice “for the Lord” (Lev. 16:8). The blood of that goat would purify the people. The second goat was not sacrificed or designated “for the Lord.” On the contrary, this goat—the one that symbolically carried the sins away from the camp of Israel into the wilderness—was “for Azazel” (Lev. 16:8-10).
What—or who—is Azazel?
The Hebrew term azazel (עזאזל) occurs four times in Leviticus 16 but nowhere else in most people's canon of the Bible, (and I say "most people's canon," because some people do include 1 Enoch in their canon of Scripture, which of course goes into great detail about this "Azazel" figure). Many translations prefer to translate the term as a phrase, “the goat that goes away,” which is the same idea conveyed in the King James Version’s “scapegoat.” Other translations treat the word as a name: Azazel. The “scapegoat” option is possible, but since the phrase “for Azazel” parallels the phrase “for YHVH” (“for the Lord”), the wording suggests that two divine figures are being contrasted by the two goats.
A strong case can be made for translating the term as the name Azazel. Ancient Jewish texts show that Azazel was understood as a demonic figure associated with the wilderness. The Mishnah (ca. AD 200; Yoma 6:6) records that the goat for Azazel was led to a cliff and pushed over, ensuring it would not return with its death. This association of the wilderness with evil is also evident in the New Testament, as this was where Jesus met the devil (Matt. 4:1). Also, in Leviticus 17:1-7 we learn that some Israelites had been accustomed to sacrificing offerings to "devils" (alternatively translated as “goat demons”). The Day of Atonement replaced this illegitimate practice.
The second goat was not sent into the wilderness as a sacrifice to a foreign god or demon. The act of sending the live goat out into the wilderness, which was unholy ground, was to send the sins of the people where they belonged—to the demonic domain. With one goat sacrificed to bring purification and access to YHVH and one goat sent to carry the people’s sins to the demonic domain, this annual ritual reinforced the identity of the true God and His mercy and holiness.
When Jesus died on the cross for all of humanity’s sins, he was crucified outside the city, paralleling the sins of the people being cast to the wilderness via the goat to Azazel. Jesus died once for all sinners, negating the need for this ritual.
As previously stated, the goat which had all the sin put on it was sent alive off to the wilderness, while the blood of the goat which was blameless was used to purify the temple and the people. Penal substitution would necessitate the killing of the goat which had the sin put on it.
Mind you, this is the only sacrificial ritual of any kind in the Torah in which sins are placed on an animal. The only time it happens is this, and that animal is not sacrificed. Most PSA proponents unwittingly point to this ritual as evidence of their view, despite it actually serving as evidence to the contrary, because most people don't read their Old Testament and don't familiarize themselves with the "boring parts" like Leviticus (when it's actually rather important to do so, since that book explains how exactly animal offerings were to be carried out and why they were done in the first place).
In the New Testament, Christ's blood was not only meant to mark out those who were his, but also expel the presence of sin and ritual uncleanness so as to make the presence of YHVH manifest in the believer's life. Notice how God's wrath isn't poured out on Christ in our stead on this view, but rather His wrath was poured out on those who weren't covered, and the presence of sin and evil were merely removed by that which is pure and blameless (Christ's blood) for the believer.
All this is the difference between expiation and propitiation.

The Content of Paul's Gospel Message

When the New Testament writers talked about “the gospel,” they referred not to the Protestant doctrine of justification sola fide–the proposition that if we will stop trying to win God’s favor and only just believe that God has exchanged our sin for Christ’s perfect righteousness, then in God’s eyes we will have the perfect righteousness required both for salvation and for assuaging our guilty consciences–but rather they referred to the simple but explosive proposition Kyrios Christos, “Christ is Lord.” That is to say, the gospel was, properly speaking, the royal announcement that Jesus of Nazareth was the God of Israel’s promised Messiah, the King of kings and Lord of lords.
The New Testament writers were not writing in a cultural or linguistic vacuum and their language of euangelion (good news) and euangelizomai would have been understood by their audience in fairly specific ways. Namely, in the Greco-Roman world for which the New Testament authors wrote, euangelion/euangelizomai language typically had to do with either A) the announcement of the accession of a ruler, or B) the announcement of a victory in battle, and would probably have been understood along those lines.
Let’s take the announcements of a new ruler first. The classic example of such a language is the Priene Calendar Inscription, dating to circa 9 BC, which celebrates the rule (and birthday) of Caesar Augustus as follows:
"It was seeming to the Greeks in Asia, in the opinion of the high priest Apollonius of Menophilus Azanitus: Since Providence, which has ordered all things of our life and is very much interested in our life, has ordered things in sending Augustus, whom she filled with virtue for the benefit of men, sending him as a savior [soter] both for us and for those after us, him who would end war and order all things, and since Caesar by his appearance [epiphanein] surpassed the hopes of all those who received the good tidings [euangelia], not only those who were benefactors before him, but even the hope among those who will be left afterward, and the birthday of the god [he genethlios tou theou] was for the world the beginning of the good tidings [euangelion] through him; and Asia resolved it in Smyrna."
The association of the term euangelion with the announcement of Augustus’ rule is clear enough and is typical of how this language is used elsewhere. To give another example, Josephus records that at the news of the accession of the new emperor Vespasian (69 AD) “every city kept festival for the good news (euangelia) and offered sacrifices on his behalf.” (The Jewish War, IV.618). Finally, a papyrus dating to ca. 498 AD begins:
"Since I have become aware of the good news (euangeliou) about the proclamation as Caesar (of Gaius Julius Verus Maximus Augustus)…"
This usage occurs also in the Septuagint, the Greek translations of the Jewish Scriptures. For instance LXX Isaiah 52:7 reads, “How beautiful upon the mountains are the feet of him who brings good news (euangelizomenou), who publishes peace, who brings good news (euangelizomenos) of salvation, who says to Zion, ‘Your God reigns.'" Similarly, LXX Isaiah 40:9-10 reads:

"…Go up on a high mountain, you who bring good tidings (ho euangelizomenos) to Sion; lift up your voice with strength, you who bring good tidings (ho euangelizomenos); lift it up, do not fear; say to the cities of Ioudas, “See your God!” Behold, the Lord comes with strength, and his arm with authority (kyrieias)…."-NETS, Esaias 40:9-10

This consistent close connection between euangelion/euangelizomai language and announcements of rule strongly suggests that many of the initial hearers/readers of the early Christians’ evangelical language would likely have understood that language as the announcement of a new ruler (see, e.g., Acts 17:7), and, unless there is strong NT evidence to the contrary, we should presume that the NT writers probably intended their language to be so understood.
However, the other main way in which euangelion/euangelizomai language was used in the Greco-Roman world was with reference to battle reports, announcements of victory in war. A classic example of this sort of usage can be found in LXX 2 Samuel 18:19ff, where David receives word that his traitorous son, Absalom, has been defeated in battle. Euangelion/euangelizomai is used throughout the passage for the communications from the front.
As already shown throughout this post, the NT speaks of Jesus’s death and resurrection as a great victory over the powers that existed at that time and, most importantly, over death itself. Jesus’ conquest of the principalities and powers was the establishment of his rule and comprehensive authority over heaven and earth, that is, of his Lordship over all things (again, at that time).
This was the content of Paul's gospel message...

Justification, and the "New" Perspective on Paul

The following quotation is from The Gospel Coalition, and I believe it to be a decently accurate summary of the NPP (New Perspective on Paul), despite it being from a source which is in opposition to it:

The New Perspective on Paul, a major scholarly shift that began in the 1980s, argues that the Jewish context of the New Testament has been wrongly understood and that this misunderstand[ing] has led to errors in the traditional-Protestant understanding of justification. According to the New Perspective, the Jewish systems of salvation were not based on works-righteousness but rather on covenantal nomism, the belief that one enters the people of God by grace and stays in through obedience to the covenant. This means that Paul could not have been referring to works-righteousness by his phrase “works of the law”; instead, he was referring to Jewish boundary markers that made clear who was or was not within the people of God. For the New Perspective, this is the issue that Paul opposes in the NT. Thus, justification takes on two aspects for the New Perspective rather than one; initial justification is by faith (grace) and recognizes covenant status (ecclesiology), while final justification is partially by works, albeit works produced by the Spirit.

I believe what's called the "new perspective" is actually rather old, and that the Reformers' view of Paul is what is truly new, being that the Lutheran understanding of Paul is simply not Biblical.
The Reformation perspective understands Paul to be arguing against a legalistic Jewish culture that seeks to earn their salvation through works. However, supporters of the NPP argue that Paul has been misread. We contend he was actually combating Jews who were boasting because they were God's people, the "elect" or the "chosen ones." Their "works," so to speak, were done to show they were God's covenant people and not to earn their salvation.
The key questions involve Paul’s view(s) of the law and the meaning of the controversy in which Paul was engaged. Paul strongly argued that we are “justified by the faith of Christ, and not by the works of the law” (Gal. 2:16b). Since the time of Martin Luther, this has been understood as an indictment of legalistic efforts to merit favor before God. Judaism was cast in the role of the medieval "church," and so Paul’s protests became very Lutheran, with traditional-Protestant theology reinforced in all its particulars (along with its limitations) as a result. In hermeneutical terms, then, the historical context of Paul’s debate will answer the questions we have about what exactly the apostle meant by the phrase "works of the law," along with other phrases often used as support by the Reformers for their doctrine of Sola Fide (justification by faith alone), like when Paul mentions "the righteousness of God."
Obviously an in-depth analysis of the Pauline corpus and its place in the context of first-century Judaism would take us far beyond the scope of this brief post. We can, however, quickly survey the topography of Paul’s thought in context, particularly as it has emerged through the efforts of recent scholarship, and note some salient points which may be used as the basis of a refurbished soteriology.
[Note: The more popular scholars associated with the NPP are E.P. Sanders, James Dunn, and N.T. Wright. Dunn was the first to coin the term "The New Perspective" in a 1983 Manson Memorial Lecture, The New Perspective on Paul and the Law.]
Varying authors since the early 1900's have brought up the charge that Paul was misread by those in the tradition of Martin Luther and other Protestant Reformers. Yet, it wasn't until E.P. Sanders' 1977 book, Paul and Palestinian Judaism, that scholars began to pay much attention to the issue. In his book, Sanders argues that the Judaism of Paul's day has been wrongly criticized as a religion of "works-salvation" by those in the Protestant tradition.
A fundamental premise in the NPP is that Judaism was actually a religion of grace. Sander's puts it clearly:
"On the point at which many have found the decisive contrast between Paul and Judaism - grace and works - Paul is in agreement with Palestinian Judaism... Salvation is by grace but judgment is according to works'...God saves by grace, but... within the framework established by grace he rewards good deeds and punishes transgression." (Paul and Palestinian Judaism, p. 543)
N.T. Wright adds that, "we have misjudged early Judaism, especially Pharisaism, if we have thought of it as an early version of Pelagianism," (Wright, What Saint Paul Really Said, p. 32).
Sanders has coined a now well-known phrase to describe the character of first-century Palestinian Judaism: “covenantal nomism.” The meaning of “covenantal nomism” is that human obedience is not construed as the means of entering into God’s covenant. That cannot be earned; inclusion within the covenant body is by the grace of God. Rather, obedience is the means of maintaining one’s status within the covenant. And with its emphasis on divine grace and forgiveness, Judaism was never a religion of legalism.
If covenantal nomism was operating as the primary category under which Jews understood the Law, then when Jews spoke of obeying commandments, or when they required strict obedience of themselves and fellow Jews, it was because they were "keeping the covenant," rather than out of legalism.
More recently, N.T. Wright has made a significant contribution in his little book, What Saint Paul Really Said. Wright’s focus is the gospel and the doctrine of justification. With incisive clarity he demonstrates that the core of Paul’s gospel was not justification by faith, but the death and resurrection of Christ and his exaltation as Lord. The proclamation of the gospel was the proclamation of Jesus as Lord, the Messiah who fulfilled Israel’s expectations. Romans 1:3-4, not 1:16-17, is the gospel, contrary to traditional thinking. Justification is not the center of Paul’s thought, but an outworking of it:
"[T]he doctrine of justification by faith is not what Paul means by ‘the gospel’. It is implied by the gospel; when the gospel is proclaimed, people come to faith and so are regarded by God as members of his people. But ‘the gospel’ is not an account of how people get saved. It is, as we saw in an earlier chapter, the proclamation of the lordship of Jesus Christ….Let us be quite clear. ‘The gospel’ is the announcement of Jesus’ lordship, which works with power to bring people into the family of Abraham, now redefined around Jesus Christ and characterized solely by faith in him. ‘Justification’ is the doctrine which insists that all those who have this faith belong as full members of this family, on this basis and no other." (pp. 132, 133)
Wright brings us to this point by showing what “justification” would have meant in Paul’s Jewish context, bound up as it was in law-court terminology, eschatology, and God’s faithfulness to God’s covenant.
Specifically, Wright explodes the myth that the pre-Christian Saul was a pious, proto-Pelagian moralist seeking to earn his individual passage into heaven. Wright capitalizes on Paul’s autobiographical confessions to paint rather a picture of a zealous Jewish nationalist whose driving concern was to cleanse Israel of Gentiles as well as Jews who had lax attitudes toward the Torah. Running the risk of anachronism, Wright points to a contemporary version of the pre-Christian Saul: Yigal Amir, the zealous Torah-loyal Jew who assassinated Prime Minister Yitzhak Rabin for exchanging Israel’s land for peace. Wright writes:
"Jews like Saul of Tarsus were not interested in an abstract, ahistorical system of salvation... They were interested in the salvation which, they believed, the one true God had promised to his people Israel." (pp. 32, 33)
Wright maintains that as a Christian, Paul continued to challenge paganism by taking the moral high ground of the creational monotheist. The doctrine of justification was not what Paul preached to the Gentiles as the main thrust of his gospel message; it was rather “the thing his converts most needed to know in order to be assured that they really were part of God’s people” after they had responded to the gospel message.
Even while taking the gospel to the Gentiles, however, Paul continued to criticize Judaism “from within” even as he had as a zealous Pharisee. But whereas his mission before was to root out those with lax attitudes toward the Torah, now his mission was to demonstrate that God’s covenant faithfulness (righteousness) has already been revealed in Jesus Christ.
At this point Wright carefully documents Paul’s use of the controversial phrase “God’s righteousness” and draws out the implications of his meaning against the background of a Jewish concept of justification. The righteousness of God and the righteousness of the party who is “justified” cannot be confused because the term bears different connotations for the judge than for the plaintiff or defendant. The judge is “righteous” if his or her judgment is fair and impartial; the plaintiff or defendant is “righteous” if the judge rules in his or her favor. Hence:
"If we use the language of the law court, it makes no sense whatsoever to say that the judge imputes, imparts, bequeaths, conveys or otherwise transfers his righteousness to either the plaintiff or the defendant. Righteousness is not an object, a substance or a gas which can be passed across the courtroom. For the judge to be righteous does not mean that the court has found in his favor. For the plaintiff or defendant to be righteous does not mean that he or she has tried the case properly or impartially. To imagine the defendant somehow receiving the judge’s righteousness is simply a category mistake. That is not how the language works." (p. 98)
However, Wright makes the important observation that even with the forensic metaphor, Paul’s theology is not so much about the courtroom as it is about God’s love.
Righteousness is not an impersonal, abstract standard, a measuring-stick or a balancing scale. That was, and still is, a Greek view. Righteousness, Biblically speaking, grows out of covenant relationship. We forgive because we have been forgiven (Matt. 18:21-35); “we love" because God “first loved us” (1 John 4:19). Love is the fulfillment of the law (Rom. 13:8, 10, Gal 5:14, Jam. 2:8). Paul even looked forward to a day when “we must all appear before the judgment seat of Christ; that every one may receive the things done in his body, according to that he hath done, whether it be good or bad” (2 Cor. 5:10), and he acknowledged that his clear conscience did not necessarily ensure this verdict (1 Cor. 4:4), but he was confident nevertheless. Paul did in fact testify of his clear conscience: “For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation [i.e., behavior] in the world, and more abundantly to you-ward” (2 Cor. 1:12). He was aware that he had not yet “attained” (Phil. 3:12-14), that he still struggled with the flesh, yet he was confident of the value of his performance (1 Cor. 9:27). These are hardly the convictions of someone who intends to rest entirely on the merits of an alien righteousness imputed to his or her account.
Wright went on to flesh out the doctrine of justification in Galatians, Philippians, and Romans. The “works of the law” are not proto-Pelagian efforts to earn salvation, but rather “sabbath [keeping], food-laws, circumcision” (p. 132). Considering the controversy in Galatia, Wright writes:
"Despite a long tradition to the contrary, the problem Paul addresses in Galatians is not the question of how precisely someone becomes a Christian, or attains to a relationship with God….The problem he addresses is: should his ex-pagan converts be circumcised or not? Now this question is by no means obviously to do with the questions faced by Augustine and Pelagius, or by Luther and Erasmus. On anyone’s reading, but especially within its first-century context, it has to do quite obviously with the question of how you define the people of God: are they to be defined by the badges of Jewish race, or in some other way? Circumcision is not a ‘moral’ issue; it does not have to do with moral effort, or earning salvation by good deeds. Nor can we simply treat it as a religious ritual, then designate all religious ritual as crypto-Pelagian good works, and so smuggle Pelagius into Galatia as the arch-opponent after all. First-century thought, both Jewish and Christian, simply doesn’t work like that…. [T]he polemic against the Torah in Galatians simply will not work if we ‘translate’ it into polemic either against straightforward self-help moralism or against the more subtle snare of ‘legalism’, as some have suggested. The passages about the law only work — and by ‘work’ I mean they will only make full sense in their contexts, which is what counts in the last analysis — when we take them as references to the Jewish law, the Torah, seen as the national charter of the Jewish race." (pp. 120-122)
The debate about justification, then, “wasn’t so much about soteriology as about ecclesiology; not so much about salvation as about the church.” (p. 119)
To summarize the theology of Paul in his epistles, the apostle mainly spent time arguing to those whom he were sending letters that salvation in Christ was available to all men without distinction. Jews and Gentiles alike may accept the free gift; it was not limited to any one group. Paul was vehement about this, especially in his letter to the Romans. As such, I will finish this post off by summarizing the letter itself, so as to provide Biblical support for the premises of the NPP and for what the scholars I referenced have thus far argued.
After his introduction in the epistle to an already believing and mostly Gentile audience (who would've already been familiar with the gospel proclaimed in verses 3-4), Paul makes a thematic statement in 1:16: “For I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to every one that believeth; to the Jew first, and also to the Greek.” This statement is just one of many key statements littered throughout the book of Romans that give us proper understanding of the point Paul wished to make to the interlocutors of his day, namely, salvation is available to all, whether Jew or Gentile.
In 1:16 Paul sets out a basic theme of his message in the letter to the Romans. All who believed, whether they be Jew or Gentile, were saved by the power of the gospel. The universal nature of salvation was explicitly stated. The gospel saved all without distinction, whether Jew or Greek; salvation was through the gospel of Jesus Christ. Immediately after this thematic declaration, Paul undertakes to show the universal nature of sin and guilt. In 1:18-32 Paul shows how the Gentile is guilty before God. Despite evidence of God and his attributes, which is readily available to all, they have failed to honor YHVH as God and have exchanged His glory for idolatrous worship and self-promotion. As a consequence, God handed them over in judgment (1:18-32). Paul moves to denunciation of those who would judge others while themselves being guilty of the very same offenses (2:1-5) and argues that all will be judged according to their deeds (2:6). This judgment applies to all, namely, Jew and Greek (2:9-10). This section serves as somewhat of a transition in Paul’s argument. He has highlighted the guilt of the Gentiles (1:18ff) and will shortly outline the guilt of the Jew (2:17-24). The universal statement of 2:1-11 sets the stage for Paul’s rebuke of Jewish presumption. It was not possession of the Law which delivered; it was faithful obedience. It is better to have no Law and yet to obey the essence of the Law (2:12-16) than to have the Law and not obey (2:17-3:4). Paul then defends the justice of God’s judgment (3:5-8), which leads to the conclusion that all (Jew and Gentile) are guilty before God (3:9).
Paul argues that it was a mistaken notion to think that salvation was the prerogative of the Jew only. This presumption is wrong for two reasons. First, it leads to the mistaken assumption that only Jews were eligible for this vindication (Paul deals with this misunderstanding in chapter 4 where he demonstrates that Abraham was justified by faith independently of the Law and is therefore the father of all who believe, Jew and Gentile alike). Second, it leads to the equally mistaken conclusion that all who were Jews are guaranteed of vindication. Paul demonstrates how this perspective, which would call God’s integrity into question since Paul was assuming many Jews would not experience this vindication, was misguided. He did this by demonstrating that it was never the case that all physical descendants of Israel (Jacob) were likewise recipients of the promise. In the past (9:6-33) as in the present (at that time; 11:1-10), only a remnant was preserved and only a remnant would experience vindication. Paul also argued that the unbelief of national Israel (the non-remnant) had the purpose of extending the compass of salvation. The unbelief of one group made the universal scope of the gospel possible. This universalism was itself intended to bring about the vindication of the unbelieving group (11:11-16). As a result of faith, all (Jew and Gentile) could be branches of the olive tree (11:17-24). Since faith in Christ was necessary to remain grafted into the tree, no one could boast of his position. All, Jew and Gentile alike, were dependent upon the mercy and grace of God. As a result of God’s mysterious plan, He would bring about the vindication of His people (11:25-27). [Note: It is this author's belief that this vindication occurred around 66-70 AD, with the Parousia of Christ's Church; this author is Full-Preterist in their Eschatology.]

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I dont understand this. I had h Pylori and eradicated 8 month ago. Stomach still hurts like shit and i am still not able to gain my weight back, im so underweight. But one other main issue i have is that my face looks SO gaunt and eyes SO sunken in. What is more Crazy is that i Can someday have a face that is ALOT less gaunt and eyes that are not sunken in so much, even though they weight scale say the same weight on these days compared to the other days.
It also seems like when my stomach is really gnawning and hurting, the sunken in eyes and gaunt face is alot worse.
I CANNOT understand why that is happening… I guess Its more noticeable for me because im allready so underweight (192 cm and Down to 69 kg)
Does anyone Else have the same thing going on, with the face/eye thing?

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Hi all,
I'm working on a model and I've added a particle system to replicate a thatched roof. It looks okay when I'm on object mode (both in solid and render preview modes), but when I render it disappears.
Any ideas of what am I doing wrong?
Also any constructive criticism about the model itself is welcomed too!
Cheers!
https://preview.redd.it/b65i7pwuoq1d1.jpg?width=1920&format=pjpg&auto=webp&s=bda4268d0e2970373b4f27cd18b62bda2630e0a0
https://preview.redd.it/i03ttamvoq1d1.jpg?width=1920&format=pjpg&auto=webp&s=41258cc92b8849c5e43360907235ff8a374eaa08

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"I love "Star Trek" deeply because of its radical, aggressive optimism. It envisions a world, and a form of entertainment, that downplays conflict. Drama and power can come from elsewhere. The future, "Trek" always declared, was going to be populated by nerds, miracle tech, and egalitarianism. And what's so funny about peace, love, and understanding?"
Witney Seibold (SlashFilm)
Link:
https://www.slashfilm.com/1582617/star-trek-changed-my-life-forever-reigns-as-greatest-sci-fi-franchise-of-all-time/
Quotes:
"Like many Trekkies, I came to "Star Trek" at an early age. Throughout the 1980s, reruns of the original series would air on my local station (KCOP, channel 13 in Los Angeles), and they would serve as a periodic video backdrop to our dinnertimes. As a child, "Star Trek" was merely an action-light, horror-heavy sci-fi adventure series, and my older sister and I would gleefully yell out when Spock (Leonard Nimoy) performed his notorious Vulcan nerve pinch, or when Captain Kirk (William Shatner) got to snog an itinerant babe. We would hide our heads from the monster of the week; like many, I was terrified by the scowling face of Balok, the Ted Cassidy-voiced puppet alien from "The Corbomite Maneuver" (November 10, 1966).
Perhaps unusually for a child, I wasn't powerfully drawn to action, fights, or explosions in my entertainment. I would indeed watch the era's toyetic wartime cartoons like "Transformers" and "G.I. Joe," of course, but I didn't care deeply for the characters, nor have much invested in their dramatic stakes. I had trouble taking the "oorah" action seriously, perhaps already innately understanding that the cartoon soldiers were fictional and their triumphs were only temporary; what is the meaning of a victory when the bad guys will merely return the following week?
I only realized this in retrospect, but "Star Trek" was secretly providing an antidote to the breathless mayhem oozing from every pore of my generation's childhood entertainment. It was a series that, despite bad guys, monsters, and fights, was ultimately teaching intense lessons of diplomacy and leadership. The crew of the Enterprise weren't "violent/cool," and I liked that. Finally, I realized, here was a show about pacifism.
And, yes, "Star Trek" communicated themes of pacifism. It might have been a fluke of 1960s special effects budgets, but "Star Trek" rarely showed the USS Enterprise firing off its weapons or getting into full-scale starship battles. The common playground pop culture query of "who would win in a fight?" seemed churlish with "Star Trek." Would Kirk win in a fight with, say, Han Solo? Even as a wee bairn, I had to ask why Kirk and Han Solo would be fighting in the first place. I figured Spock would merely ask Han Solo about his ship while Kirk invited him in for a meal. Power, "Star Trek" argued, wasn't derived from one's ability to dominate and overwhelm others with tactics and weapons prowess, but to negotiate, adapt, and remain friendly.
[...]
Whether "Star Trek" taught me to be a pacifist or whether I was already a pacifist can be debated, but creator Gene Roddenberry and I were definitely on the same wavelength. "Star Trek" took place in a post-war universe at a time when humans had outgrown the need to kill each other for resources, and petty political grievances were a thing of the past.
[...]
Star Trek is for nerds, and that's a good thing
While it may be a cliché, I still maintain that "Star Trek" is for nerds. That is, I should hasten to add, a high compliment. With the release of "Next Generation," I was given my clearest, most refreshing draft of action-antidote. I began to realize that the rest of the American viewing public longed for conflict and war and action in their entertainment, with boys my age constantly raving about the latest 'splosion-fest that evoked the word "awesome."
Meanwhile, over on "Star Trek: The Next Generation," the universe had already graduated, moved into the stars, and gave up on action altogether. Oh sure, Commander Riker (Jonathan Frakes) was handy with a phaser, Worf (Michael Dorn) could murder you with a bat'leth, and the USS Enterprise-D needed to employ some sneaky battlefield tactics to outgun the Borg (or any number of other opponents), but one always got the sense that weapons and fights were a last-ditch tactic, a formality that must be seen through before an understanding could be reached. War was to be avoided at all costs.
What's more, there were classical references! Whenever Picard quoted Shakespeare, my heart would sing. By the time I turned 13 (when NextGen had just finished its fourth season), I too was getting into Shakespeare and Picard emerged as a teacher, a fictional professor that you didn't want to disappoint. I finally realized that the nerdy sci-fi technicalities of "Star Trek," along with its classical obsessions, workplace propriety, devotion to diplomacy, multicultural mindsets, and ability to brainstorm open-minded solutions to complex problems ... these were all aspirational states. Scoop in a few ethical dilemmas — racism, euthanasia, gender politics — and "Trek" gave me everything.
Star Trek obsession is healthy, actually
Like with the original series, the peacefulness of "Next Generation" could easily have been a product of its budget; without the money to stage massive phaser battles, fights and scrapes rarely rose above the skirmish level. This, by necessity, required the show to de-emphasize violence. The makers of "NextGen" also couldn't afford to visit alien worlds regularly, forcing them to shoot on the same six or seven sets week after week.
The limitations, however, allowed Trekkies to enjoy our time on board the Enterprise. "Star Trek" is, after all, a workplace drama above anything else, and we loved seeing the characters do their jobs on an day-to-day basis. We lived with the Enterprise crew long enough that we started to get a sense of how the ship worked. That, in turn, led directly into fantasies of living in "Star Trek," knowing we could operate the machinery if asked. It also didn't seem so terrible to live in a world that was devoted to science, peace, and diplomacy.
[...]
When J.J. Abrams' 2009 "Star Trek" reboot film came out, the franchise was altered to be one of the usual action flicks that "Trek" previously eschewed. It appealed to a mass audience. Conversations began as to what constituted "real Trek," leading directly into additional conversations about gatekeeping, fandom, and franchise evolution. Is "Star Trek" for nerds, or can it appeal to — for lack of a better term — jocks?
Conversations between Trekkies in the 1990s were impassioned, but rarely caustic (at least in my experience). In 2009, however, notions of fan toxicity were more openly acknowledged among pop obsessives, and people became angrier about their obsessions. All of a sudden, I was an "old school" Trekkie.
I was 31 and okay being "old school." After all, decades had passed since "Next Generation," a series that responded to Ronald Reagan and flourished during the 1990s. Why shouldn't it adjust again? I didn't like the franchise's actioned-up response to 9/11, but I was still happy to have debates as to what "Star Trek" meant and what modern action films communicated.
"Trek" taught me to negotiate ... about "Trek."
What Star Trek means today
I am on record with my feelings about the Paramount+ era of "Star Trek," and I have frequently been rather critical. I want to go on record, however, that my criticisms are not based in misplaced nostalgia, prejudicial hate against new "Star Trek," nor a gradually closing mind (an unfortunate affliction that can sometimes strike people rounding middle age). Indeed, I have liked a great deal of the "Star Trek" shows that have debuted since 2017. I think "Star Trek: Lower Decks" perfectly balances humor and irreverence with notable "Star Trek" themes of growth and maturity. "Lower Decks" is about lower-ranking officers who have the crappiest jobs on a Starfleet vessel, and struggle to grow up when they have a twentysomething's instincts toward laziness and bad decision-making. "Star Trek" is about adults, and "Lower Decks" sees people becoming adults.
Likewise, "Star Trek: Strange New Worlds" returns to an episodic structure, allowing for miniature dramas and handily-packaged morality plays to be presented more cleanly than the broad arcs of "Discovery" or "Picard." I only wince at "Star Trek" when it violates its own principles or lazily falls into action-based stories that (perhaps unwittingly) glorify combat, war, and aggression. And make no mistake, these kinds of stories were always part of the franchise; they didn't start in 2017.
I love "Star Trek" deeply because of its radical, aggressive optimism. It envisions a world, and a form of entertainment, that downplays conflict. Drama and power can come from elsewhere. The future, "Trek" always declared, was going to be populated by nerds, miracle tech, and egalitarianism. And what's so funny about peace, love, and understanding?
War was our awkward adolescence, "Trek" said, and our adulthood is in the stars."
Witney Seibold (SlashFilm)
Link:
https://www.slashfilm.com/1582617/star-trek-changed-my-life-forever-reigns-as-greatest-sci-fi-franchise-of-all-time/

After we broke up, my ex has been going around to our mutual friends and telling them that I raped her. One time when we were having sex my dick slipped into the wrong hole for a split second and I stopped as soon as I realised what happened and I heard her yelp. I felt like absolute shit and she accepted my apology. this is the only instance I could imagine her alluding to. My friends have come up to me to and asked me to clarify. The ones I talked to believe me. I was at a party where my ex was present with a mutual friend of ours. I was hitting it off with our mutual friend and we were flirting a bit. They both then diss appeared into the bathroom and then the mutual never talked to me again. This has been heartbreaking and is making me question my sanity. I’m scared for my reputation. What’s most confusing of all, is that my ex will still text me every now and then with exclamation makes and smiley faces. I’m scared to not respond to her cause I’m scared of what else she is capable of.

"Who will write my network administration assignment" is a common query among students grappling with complex coursework. As essential as network administration is to university operations, it's understandable that some students may seek assistance in understanding and completing their assignments in this field. If you're facing challenges with your network administration assignments, reaching out to knowledgeable peers, tutors, or academic resources can provide valuable support and guidance. By engaging with these resources, you can enhance your understanding of network administration concepts and excel in your studies. Remember, seeking help when needed is a proactive step toward academic success.

The Role of Network Administration

Universities today rely heavily on robust network infrastructures to support a myriad of activities, including online learning, research collaborations, administrative functions, and campus-wide communications. Network administrators are tasked with:

• Infrastructure Management: Designing, implementing, and maintaining the campus network infrastructure, including routers, switches, and access points.
• Security: Ensuring network security through firewalls, VPNs, and intrusion detection systems to protect sensitive data and prevent unauthorized access.
• Troubleshooting: Resolving connectivity issues, diagnosing network outages, and providing technical support to users.
• Capacity Planning: Anticipating future network needs and scaling the infrastructure accordingly to support growing demand.

Challenges Faced by Network Administrators

Maintaining a reliable and secure network in a university environment comes with its challenges:

• Diverse User Base: Supporting thousands of users with varying levels of technical proficiency and device types.
• Bandwidth Demands: Meeting the high bandwidth demands of multimedia-rich applications and online learning platforms.
• Cybersecurity Threats: Protecting against cyber threats such as malware, phishing attacks, and data breaches.
• Budget Constraints: Balancing the need for network upgrades with limited financial resources.

The Impact of Network Administration on Campus Life

Efficient network administration enhances the overall campus experience:

• Enhanced Learning and Research: Provides reliable access to online resources, e-books, academic journals, and collaborative tools for students and researchers.
• Administrative Efficiency: Supports administrative functions such as student registration, grading, and financial transactions.
• Communication: Facilitates seamless communication through email, messaging platforms, and video conferencing tools.
• Accessibility: Ensures that campus services, including disability services and online learning platforms, are accessible to all students.

The Role of Assignment Help Websites

In managing the complexities of network administration, universities and students alike often turn to assignment help websites to support their academic needs. These platforms provide assistance with:

• Complex Assignments: Help in completing challenging network administration assignments and projects.
• Expert Guidance: Access to experienced professionals who can provide insights and solutions to network administration problems.
• Time Management: Assistance in managing coursework deadlines and balancing academic responsibilities.
• Quality Assurance: Ensures that assignments are completed to a high standard, meeting academic requirements.

Conclusion

Network administration is vital for maintaining a connected campus environment that supports learning, research, and administrative functions. As universities continue to rely on technology for their day-to-day operations, the role of network administrators becomes increasingly critical. By leveraging assignment help websites, students can navigate the complexities of network administration coursework while focusing on their academic and personal growth.
For more information on network administration and academic support, visit ComputerNetworkAssignmentHelp.com.

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

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

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

It seems like they’re doing everything to kind of nerf Boothill, the planar set was already annoyingly specific and now we have the relic that was supposed to be amazing on him was now nerfed specifically against him only.
That is already a big slap in the face but now they nerfed his buff in Apocalyptic shadow to not overshadow Firefly. Kind of crazy when he’s not even out yet especially for an endgame that’s supposed to be for hunt character. They also reduced the toughness of the boss in there which reduce Boothill’s own damage since his break scales with enemy’s toughness. Blatant favoritism if you ask me