#6 more hours to teach

[tavina-writes]

I am SO close to the end of the semester. I've got /checks my notes/ 80 more assignments to grade and some meetings and several other things to do and then I can get back to.

Writing fic like god intended.

[rigelmejo]

Something that always annoys me is the idea only 1 language learning method works. Which is not true. While it may be possible that, for a particular individual, only a few out of many study methods may work well enough for That Individual to make progress and stay motivated... that doesn't mean all the other study methods won't work for anyone else out there, or that those few methods will work for every other given person.

Obviously if you've been studying a while, then you already figured out what kinds of things work for you and don't. If you're a beginner, just wading into studying?

I would suggest you simply look for study methods that: 1. Teach you new things regularly, 2. Review and practice things you've learned, 3. Include studying things you need for your particular goals (for example if your goal is to read X book then the study materials at some point should involve reading practice and some words the book contains, if your goal is to talk about Y then the study materials should include some information about pronunciation and words you'll need to be able to say).

As you can imagine, a TON of study materials will meet these requirements. And you can study a given skill in a LOT of ways.

(Reading is my focus lol so just for reading, a beginner might: do vocabulary study with lists or conversations with native speakers or watching shows and looking words up or listening to dialogues with a transcript like in a textbook or graded readers or a picture book with word labels in the target language or a video game with labelled objects in target language, all of those things as long as your vocabulary is improving or reading practice is happening would help you make progress). So to improve reading skill as a beginner: you could study with a textbook, a podcast with transcript, a classroom or tutor with words written down in target language (like TPRS), a video game, a TV show and a translate app on your phone, a friend you talk with (who either writes words down or you look up words you hear with a translate app), a friend you text with, srs flashcards like anki (provided there's text) etc. As long as there's new words, and/or you're practicing reading, the study method may work. If it works will come down to if you can stay motivated doing it regularly, and make sure you regularly learn some new things and review/practice things you've already studied.

So consider those things when you see people selling a study method as a product (especially when it's costing you money). Consider if it teaches you NEW things, and are those new things related to your goals, and how MUCH new stuff will it teach you before you finish it? Consider if it provides review or practice, or if you can use it's materials to review on your own making up your own method, or if you'll need to do separate review/practice.

So examples:

LingQ. Can it teach you many new words? Yes, thousands, since you can import any texts you want when you get done with their provided material (I have no idea how much their beginner material covers though in terms of words... I would hope 1000-3000 words but that can be researched). Is your goal reading? It's suited to reading, so you will practice and review often with it. Cost? I think it was $12 a month when I last had it, and the price may have increased. Is it worth it? Depends on a learner's needs. I found it was wasting my money, so I chose to use free tools like Pleco and Readibu apps - since those apps are suited for Chinese learners and have better translations, Pleco has better paid graded reader material if I was going to spend money, and both Pleco and Readibu let me import texts so I can learn thousands of new words just like LingQ but free. Now that I'm not a beginner, I often use Microsoft Edge to read chinese... since I can still click-translate words easily (all my web browsers have that tool free), and Edge's TTS voice is helpful for pronunciation and sounds quite good. I read webnovels online so Edge works well. But it's translations aren't as good as Pleco or Readibu, so if I still needed translations more I would use them. So... is LingQ a good study method? Its certainly a study method marketed to buy. Well... the method is suited to improving reading skill, at least. It costs money, which is a negative, but it does offer a lot. However: everything it does regarding reading can be done free with other apps or sites or web browsers on their own. So if paying money motivates you to read... sure. LingQ does have a few word tracking features a learner may find worth the money, keeping in mind the actual read-to-learn method can be done free without lingq. (Also... while LingQ is a valid option for improving reading, if the learners goal is speaking then it would be important to think of what study activities the learner will do OUTSIDE of LingQ to improve speaking... because I've seen how LingQ is marketed as "how to learn a language" but it's only focused on some skills. It has vocabulary and grammar in some sense, since you'll read a lot and encounter new words and structures. But it doesnt have speaking or writing practice at least last time I was on it. Those activities would need to be worked on, on your own).

You can do that kind of cost/benefit contemplating with any study method material you see being sold. Amother example: there's a beginner Mandarin course called Mandarin Blueprint. It teaches like 800 words. Thats all. It may be worthwhile for a beginner... who still needs to learn 800 common words. But if you already know a few hundred words, the benefit of the course is less, you'll need to find a new material to teach you more new stuff soon. And the price was like a few hundred for the course... which for me personally was too much to spend, when I had already learned 800 hanzi from a book that cost me 12 dollars and 2000 words from a free user made memrise deck. The course claimed to get a person speaking, competent, but anyone not a beginner would say speaking basically with 800 words is nowhere near the level of working in Chinese or just doing a lot of daily life stuff, or reading/listening to media. (Although for the motivated beginner if you're learning 800 words on your own like I was, its definitely close to the point of jumping to learn more words and start reading kids and teenager books, and watching easier shows if you're willing to look new words up). So to me... Mandarin Blueprint felt like overselling some basic beginner materials. (Again when I know several other things that teach beginner stuff either more in depth so HSK test prep classes, and college courses, or that teach beginner stuff to the same depth as Mandarin Blueprint but free).

Some study materials aren't going to act like they teach everything. I've seen chinese courses just for learning to speak tones better and general pronunciation - probably worthwhile if your goal is to improve speaking and a teacher could help improve the issues your having. But a learner needs to be aware for that course that they'll need to study vocabulary on their own, its JUST a pronunciation improvement course.

[skrunksthatwunk]

ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

[woodfrogs]

fellas im gonna be honest idk how many more 11 hour days i have left in me

[red-dyed-sarumane]

one of my teachers was curious about my art bc i keep mentioning it & i had time to show her today & she said something along the lines of i'm good at showing characters' emotions in their expressions & that my art style seems to fit me. & bc i only ever draw aru sekai fan art i told her a tiny bit about the series. & since she liked my art i let her choose a sticker & she chose tenshi & as i left i saw her putting in on her phone case. amazing interactions happening today

[adore-gregor]

my football team is so hopeless

[girlivealwaysbean]

im so tough when im alone and i make you feel so guilty and i fantasize about the time you're a little fucking sorry do you think i deserved it all your flowers filled with vitriol you have everything but you still want more and

[syn0vial]

so tired i might puke. i hate being sick

[foxcassius]

yesterday too katie and i were discussing the schedule and she was like "it doesnt seem like we have as many breaks as they said we would" but when we counted it all up it's 3 hours between 9 and 6:30 that are teaching-free, with one hour explicitly set aside to be work-free entirely. and thats not counting like between classes or whatever, those 5 or 10 minutes, it's only counting chunks of time that are 15 minutes or longer. and theyre spaced pretty decently. and honestly for 3 million won i think teaching 6 and a half-ish hours per day is worth it.

[dragons-and-yellow-roses]

I start a new job in a couple weeks that will require me to wake up at 6:30am. Am I preparing for that? Am I steadily going to sleep earlier and waking up earlier so that this transition is smooth?

It's 2:15am and I didn't sleep sooner because I was cross stitching and watching Dimension 20. I'll let you guess how well the preparing is going.

[settingorange]

Really excited to have these framed. Its for a local art contest but I still think they look neat and am excited to hang them on the wall even if they get rejected 🥰

[bqstqnbruin]

My freaking sophomores had the audacity to complain to another teacher about how "I'm never free to help them" besties I get to school at 6:30 am and have said so many times I will stay after if you need me, and I answer emails until I go to bed at night it's not my fault your free periods during the school day are while I'm teaching other classes and that's the only time you care enough to ask questions like c'mon

[concoulor]

& there’s definitely a point to be made about the bidens and political office overall saving the dog from euthanasia

[liminalweirdo]

Long Covid Justice on COVID and LONG COVID from the mask ban teach-in

COVID/SARS-CoV-2 basics

It is NOT seasonal, like the flu is.

Spreads through air, like smoke.

The 6 feet apart rule is no longer great prevention advice.

Handwashing is a great hygiene practice, but transmission via surfaces is unlikely.

Vaccines do NOT prevent transmission. They reduce symptoms and severity for some.

You can transmit [COVID] while completely asymptomatic. Around half of transmission is as asymptomatic or presymptomatic. Everyone's immune system is different.

Being indoors increases risk of transmission, but you can still get it in crowded outdoor spaces.

What is Long Covid?

Long Covid is a set of health issues after someone has COVID-19

New health issues, ongoing issues, or worsening of previous symptoms and conditions.

It is a biological disease that affects hundreds of millions of people globally. It is a mass disabling condition and crisis.

It can cause significant disability and can be fatal.

Anyone can develop it, and up to 10% of people with COVID will.

Severity of initial infection doesn't correlate to potential to develop Long COVID.

It can be very hard to get a diagnosis and proper treatment or care for Long COVID.

Every time you get COVID infection, you increase your chances of developing Long COVID.

How do we prevent Long COVID? Layers of protection

Masking.

Air filtration.

Ventilation.

Vaccines.

Testing (right now Aug 2024, rapid tests are only about 20% reliable. Try to test two times in 24-48 hours).

Nasal sprays before and after exposure. (little data on these being effective against COVID but some are choosing to use them until more research comes out)

Mouthwashes with CPC (Cetylpyridinium Chloride) before and after exposure. (Must be used for at least 60 seconds)

[lightseoul]

cw. gn!reader, worker!reader, prohero!katsuki, aged-up (25), pining (the tiniest bit), a lot of cussing (typical of bkg), reader has an ex-boyfriend, reader is alluded to being smaller than bkg

masterlist | part 1, part 2 (they're all bite-sized, dw), part 4 (this one not so much), part 5 (this one too), part 6, part 7, part 8, part 9

You drop your new 0.38 ballpoint pen and it goes tumbling down, down, to the pristine carpeted floor.

Right where your jaw is.

“My what?”

The man of the hour has the audacity to scoff and roll his eyes.

Is it too late to actually follow through with your fantasy of strangling him?

As if he’s daring you to go for it, he tosses you the nth annoyed look of the night. “What did I just fucking say about not making me say things twice?”

You feel yourself flush with what you think is anger and embarrassment. “Bakugou, sir—”

“And I thought I told you to stop calling me that.”

Smartass.

That’s it.

Before you know it, you’re already on your feet, stalking your way toward the man with the proverbial steam coming out of your nose and ears. His eyes widen in surprise as you get closer and closer before you stop right in front of his desk, towering over him for once.

“My date? Really?” You sound so incredulous, even to yourself, and you can’t help the seed of pride that blossoms over what you think is worry dancing across his features. He’s out of his goddamn mind, and between the two of you, you’re not about to be the only whose feathers are visibly ruffled over this dumb-as-shit idea. He has no business being so cool about it.

Never mind that your heart is hammering in exasperation.

Yes, just that.

Shaking your head, you press on. “In case you’ve forgotten, we’re coworkers.”

You gesture to the space between you, and he merely raises his eyebrow in response with his strong arms crossed in front of his chest—snobbish as ever. “You’re my boss and I’m your underling. And I’m the HR head, for crying out loud.”

You pause to debate whether or not to say the next thing before deciding fuck it. “And what makes you think I don’t have—”

“Do you?”

Your face scrunches involuntarily at being cut off, “What?”

He leans forward, not breaking eye contact as if he’s challenging you. “Do you have a boyfriend?” He cocks his head to the side, “Or a date, at the very least?”

Your voice is small when you respond with the pitiful truth.

“…No?”

At that, Bakugou grins. If you didn’t know any better, you would say the fucking behemoth of a man looked pleased. He pushes against the edge of his desk, effectively creating a much more appropriate distance between the two of you. “Well, that settles it then. I’ll be your dashing date, we show up to your shitty ex’s wedding, and I finally teach that dickhead a lesson or two.”

A million questions start racing in your head, like: Why is this his first solution to the problem? Did he even consider whether or not you wanted to go in the first place? What did he mean by finally? And just—why?

But the one you manage to stammer out is: “Dude—what the fuck are you going to do? Are you about to mangle a guy at his wedding?!”

He looks at you like you just unceremoniously bit his ass. “What? No. What do you take me for, a brainless Nomu who just goes apeshit?”

You can only grumble in response. Yes, sometimes.

He sighs for the umpteenth time as if you’re the one who has steered the already unpleasant conversation into this bizarre topic. He stands up from his seat, and you’re back to being the one looking up at him.

The same thing probably registers in his mind because a smug look takes over his features within seconds.

“And, if you must know, I’m going to do so by being the best trophy date ever.”

You fight the reflex to choke at his words. Instead, you squint your eyes and muster your most scrutinizing gaze. “Why are you doing this?”

Bakugou doesn’t respond for a while, choosing to circle his desk and plant himself to your right. Before you can even comprehend what’s going on, let alone jerk back at the proximity, he bends toward you until his mouth is a breadth away from your ear. His minty breath tickles your skin when he finally says: “I’m a hero, remember?”

With that, the “hero” in question sashays to the glass doorway like he didn’t just drop a bomb on you, leaving you slackjawed and unresponsive.

He’s almost out of view by the time you manage to collect yourself and blurt out a reply.

“Hey, where are you going? We still have work to do.”

“Relax,” he calls out from the hallway, his voice receding as he walks farther and farther away from you. “’m just gonna take a piss.”

When you’re sure he’s out of earshot, you slump back in your seat, all the strength that’s left apparently having dissipated after that ludicrous exchange.

How could he throw every caution to the wind just like that? Did he forget he was just one spot away from being number 1? His PR team is going to kill both of you for even thinking this.

As you wait for Bakugou to finish his trip to the comfort room, you can’t help but contemplate the absurd idea. Needless to say, and despite Bakugou’s apparent nonchalance, there’s planning involved.

What are people going to say? If (once) the people from your agency—no, anyone who knows the #2 Prohero, really (which is virtually everyone)—find out, you’re toast. You’re going to be the subject of every tabloid in Musutafu—no, the entirety of Japan and maybe even in some news sites overseas—and you are absolutely not ready for that scrutinization.

And all that over a one-day fake dating stint? You’ve got to be kidding yourself.

But the more you think about it, the less foreign and preposterous the idea becomes. You know you shouldn’t even be considering it, but you can’t help it.

Getting dumped by your boyfriend over the phone only for him to reconnect with his high school sweetheart (did they even ever lose touch?) and get engaged five months later was humbling enough, let alone going to his wedding alone?

The first, obvious answer when you first saw the invite in the mail was to not go. But the more you sat on it, the more you realized how pitiful it would be to be a no-show. Was not going wiser than going alone? Probably. But you’re sick of hiding— avoiding—and you promised yourself this year that you’ll be facing your fears head-on.

Chewing your lip in deep reflection, your brain drifts back to the very person who came up with the proposition.

He seemed sure and determined enough—and it wasn’t like Bakugou to not be calculating and to not have everything mapped out, as similar as he can be to a raging bull. He probably has thought about the consequences to the T, in the few minutes of processing your situation, potentially more than you have.

And damn it, the man is attractive.

If there’s anyone you’d bring to your ex’s wedding to make him regret everything he did to you, it would be Bakugou Katsuki. Although you’d never admit it to the man even if you were held at gunpoint.

“Oi.”

Speak of the devil.

You startle at the sound of his gruff voice, abruptly dragging you out of your reverie.

He’s now standing beside you, hands in his pockets and face studying yours closely as if he’s searching for something.

You stare him back down before you finally decide on what to say.

You can’t believe what you’re about to do.

Gulping, you maintain your gaze. “Are you sure about this?”

“Would I be suggesting it if I wasn’t?”

Fair point.

To your surprise, Bakugou crouches down to regard you and you find yourself directly face-to-face. Despite yourself, you gulp in nervousness at the sudden proximity, and you think he notices because the jackass has the nerve to flash you a smirk.

You furrow your brows in an attempt to regain your composure and any semblance of control over the situation. “And you’re sure you’re gonna succeed as, and I quote, my ‘trophy date?’”

He sneers, although he doesn’t seem to be offended by your challenge. It’s probably because the statement means nothing to him—at this exact moment, the guy is practically oozing with confidence.

Bakugou chuckles, and you find yourself grateful that you’re seated because the next thing he is about to say instantly floors you.

“One thing about me, princess, is that I always win.”

tagging. @kitthepurplepotato @chelbyisbord @lovra974 @katsukis1wife @brunnetteiwik @bunnysaursushii

[soulcaretherapist]

In the Matrix Destiny chart, the number at the orange point marked with an X shows which professions and jobs are suitable for you. You can adapt this to each of your jobs and professions, and activate the energy of money in your life.

1 - Professions that are unconventional, not very common, and where you can apply theoretical knowledge to practice.

2 - Professions where you can use your creativity, solve problems, and help others.

3 - Professions where you are in a responsible role (manager, business owner, teacher, etc.) and where men can work with women, providing you with opportunities to shine.

4 - Management of money and creative fields for women, physical labor or group management for men.

5 - Professions that require organization and rules, with a clear, profitable outcome from the service provided (like a doctor's diagnosis).

6 - Any profession related to communication, with opportunities to rise in beauty/design fields.

7 - Professions involving movement, such as sports, tourism, military, or those combined with transportation/logistics.

8 - Professions involving advocacy, analysis, and a clear, structured process.

9 - Teaching, roles where you can share your knowledge and expertise.

10 - Managing teams, working in large office environments, and collaborating with similar professionals.

11 - Professions requiring physical strength, activity, and leadership roles.

12 - Professions related to helping people, nature, and creativity.

13 - Professions that may be challenging or chaotic, such as managing emergencies and crisis situations.

14 - Professions combining art, creativity, tourism, and entertainment.

15 - Leading large groups, helping individuals with dependencies, and working in various environments.

16 - Professions involving frequent travel, business trips, and communication/travel-related work.

17 - Professions where you can be in the spotlight, recognized on screen or social media (within your industry).

18 - Professions related to literature, art, information technology, where you can also engage in additional work like tarot reading due to your strong intuition and interpretative skills.

19 - Working with large audiences or followers, working for international companies, and finding happiness and passion in your chosen profession.

20 - Professions in the information industry, consultancy, spiritual fields, or writing.

21 - Global companies/brands, international presence, creating English content on social media, tourism/hospitality sector.

22 - As long as you enjoy it, the specific profession is less important, with flexible working hours, being your own boss, and more leadership-oriented roles.

I'm open for chart readings. 🌸 Purchase your reading here