#His primary objective for the VAST majority of his life was to learn and create

[dfwbwfbbwfbwf]

I won't allow the option for other schools, because we all know Fëanáro and his sons would go to Durmstrang. Nerdanel probably would go to Durmstrang as well.

-----

Nerdanel

Maitimo

Macalaurë

Tyelcormo

Carnistir

Curufinwë

Telperinquar

Ambarto

Ambarussa

[vazaymir]

Tribe oriented questions for Vaza! It's been some time since she's seen them, but how would they feel about Vaza if they saw her today? Was her tribe generally against outsiders, and if so, how might they look at her dating a hyur? Would they be impressed by the obvious physical stature and strength, or would they not care regardless? How would they feel knowing she's dating a former Imperial of all things? Does she fear running into them, or is part of her hopeful? Would she come back into the fold if they welcomed her into it? I want to know all the things!

I just have to start out by saying these are all really awesome questions. Okay! Let’s get into it.

Vaza’s tribe places a lot of emphasis on loyalty. The ‘well-being’ of the tribe and its survival is of the utmost importance, and similarly to Viera they are not accepting of those who leave. Vaza leaving her life there behind was a betrayal on a few different levels, one of the primary ones being that she abandoned her duties to her people and the responsibility she was set to inherit. Her people do not view familial ties with any sort of deep sentiment, but rather as bloodlines that need to be strengthened and continued.

This being said, Vaza would absolutely be met with hostility if she returned to her people today, and this is a fact she is more than well aware of. She herself often struggles with the idea she was a traitor to her people, no matter how much she tries to justify the reasons she had for leaving. Because of the power she possesses there is a chance they would accept her back in for her strength, but at this point she’s seen too much to be a willing pawn, and that would create some significant conflicts that I believe would not lend well to her reuniting with them.

On a similar note, they are also deeply unaccepting of outsiders. Her tribe functioned rather reclusively for much of their existence, and they were able to thrive for a time without interacting with other people aside from disputes about territory, but even these were solved with violence rather than diplomacy. They are very exclusionist in nature, and the only time anyone really ventures out of the tribe for a time is solely for the purpose of mating to bear offspring. In the vast majority of cases these do not result in any sort of long term relationship, and fathers are not involved in raising the children that resulted. So while Caelric is objectively an excellent mate in terms of his strength and capability, they would probably find a rather significant issue with the fact he is a hyur, not to mention a former Imperial. If they ever found out he was previously a part of the Imperial army, both him and Vaza would likely be attacked on sight.

And that doesn’t even touch on the fact that neither of them can have children. It sort of makes Vaza having any sort of relationship a huge waste to them, which would likely only make them angrier about the whole arrangement.

All of that being said, Vaza would definitely not be very thrilled about encountering them unexpectedly. Once upon a time she used to feel a sense of belonging about her time there and mourned the fact she had given up that tie, but she’s since learned that she can have that same belonging while being more than just a weapon in someone’s arsenal. She’s learned a lot about cultures outside of the one she was raised in, and in many ways that has changed her perspective on what it was like for her at home. There’s something to be said about being around others who share the same beliefs and practices, but even then a lot of her own beliefs have changed since her time there.

Even in the extremely rare case they were open to welcoming her back, I don’t think Vaza would go. Aside from the fact there’s a lot that they are doing that she deeply disagrees with, she’s also making some sort of life for herself where she is now. It’s new and a little strange in its own way, but its definitely something Vaza will never be willing to give up.

Thank you so much for the question @charm-in-spades!

[destinyimage]

The Multiplication Power of a Master Mind

No one can build a fortune or attain success entirely by themselves.

As Napoleon Hill writes in The Science of Personal Achievement, “Nobody ever rises above mediocrity who does not learn to use the brains of other people.” It is for this reason that Hill calls the Master Mind principle the “hub” of his entire philosophy of individual achievement, which he presents in Think and Grow Rich, The Law of Success, and countless other titles. Decades of research and interviews with over five hundred of America’s leading entrepreneurs, inventors, and influencers led Hill to seize on the Master Mind principle—which posits that “two or more minds, working together in harmony toward a definite objective, have more power than a single mind”—as the key differentiator between those who achieve their definite major purpose in life and those who do not.

"The Master Mind Principle: two or more minds, working together in harmony toward a definite objective, have more power than a single mind."

Hill first discovered the Master Mind principle when he was a young reporter tasked with interviewing America’s most successful individuals, one of whom was the formidable steel magnate Andrew Carnegie. During their conversation, Carnegie revealed to Hill that the Master Mind was the primary success principle by which he had made his fortune. Carnegie explained that he took this concept straight from the Bible:

In the New Testament, in the story of Christ and his twelve disciples, you’ll recall the unusual power the disciples retained after Christ’s death through their alliance with him while Christ was himself allied with God. Christ said to his followers that they could perform even greater things, for he had discovered that the blending of two or more minds in a spirit of harmony with a definite goal gives one contact with the power of the Universal Mind.

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As evident in Carnegie’s description, the term “Master Mind” refers not only to a group of individuals who ally themselves together in a spirit of harmony to achieve a greater goal, but also to the third mind—the Master Mind—that is produced through the association of individual members’ minds. Hill explains, “Out of this harmonious blending, the mind creates a third mind that may be appropriated and used by one or all of the individual minds.” There are thus two dimensions to the Master Mind: an economic dimension, whereby the members coordinate their knowledge, resources, and efforts to advance their financial or material position; and a psychic dimension, whereby the members organize and direct their thoughts in a spirit of perfect harmony so as to access a higher plane of thinking, one that puts them in direct connection with spiritual forces and sources of knowledge unavailable to the vast majority of individuals. The Master Mind: Action & Implement Guide will show you how you can appropriate and implement the Master Mind principle so that you can enjoy both aspects of the Master Mind and obtain exponential results on your success journey.

There are two types of Master Mind alliances: alliances formed for purely social or personal reasons, such as those between individuals and their relatives, friends, and/or religious advisors, where no material gain is sought; and alliances formed for business or professional advancement, where the members “have a personal motive of a material or financial nature connected with the object of the alliance.” Although the Master Mind: Action & Implement Guide focuses on the second type of alliance, the principles and activities recommended will, by and large, apply to the maintenance of a successful social or personal Master Mind. In both cases, the most crucial ingredient is harmony: without complete unity of purpose and the total absence of negativity and tension, the Master Mind will not serve the members’ aims; to the contrary, disharmony will undercut their efforts. As you read the Master Mind: Action & Implement Guide and work through its action guide, keep at the forefront of your mind the vital nature of harmony for the proper functioning of the Master Mind.

Also, be encouraged—the Master Mind principle is meant to set you at ease and release you from feeling that you have to have, be, and do everything on your own. By virtue of the Master Mind, no individual has to possess all the education, experience, character qualities, and skills necessary to achieve their primary goal entirely in their own person. No one need limit their ambition on the account of any self-perceived shortcoming. Anyone—regardless of their location, education, profession, or individual capabilities—can attain their vision of success if they understand and make use of the Master Mind principle. For as Hill tells us, “Knowledge is only potential power. It may become power only when it is organized and directed toward definite ends.” The greatest form of education—and consequently, the greatest form of power—is the knowledge of how to use other people’s expertise and experience to achieve a definite purpose.

"Knowledge is only potential power. It may become power only when it is organized and directed toward definite ends."  -- Napoleon Hill, Think Your Way to Wealth

Master Mind: Action & Implement Guide presents a roadmap, informed by Napoleon Hill’s success philosophy, for creating and leading a Master Mind group. Parts 1 and 2 take you through the process of forming and organizing your alliance, and part 3 offers meeting agendas for twenty-six Master Mind sessions. If your group meets once per week, you can complete the prompts in six months and then go back through them again in the second part of the year to maximize your alliance’s consistency and alignment of efforts. Or if you meet every two weeks, the action guide will direct your efforts throughout the entire year.

The power of the Master Mind is electric. In The Law of Success, Hill compares it to a series of batteries being connected to a single transmission wire, whereby the power flowing through the line becomes greatly multiplied. By allying yourself with others to create new knowledge, expand personal influence, and identify business solutions, you can leverage the power of the Master Mind to achieve results beyond the capabilities of any one individual.

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[nerdythebard]

#13: Doctor Strange [Marvel]

By the Eternal Vishanti, I welcome you back!

Today we're making the Sorcerer Supreme of the Marvel Universe-616, Doctor Strange. This spell-slinging master of the mystic arts has been my favourite superhero for quite some time now, and I'm always excited whenever we get something related to him. Now, just a quick note – this build is going to be based on the comic book version of Strange, not the MCU one. We're having real spells and incantations, not some thinly-veiled Clarke's Third Law. #LetMagicBeMagic.

Next Time: The Gods call for us again. The Dragon King blesses us with his presence.

Now then, let's examine what we need to become the mightiest mystic of the Multiverse:

Arcane Artillery: Doctor Strange holds enough mystic knowledge to give Mind Flayers an indigestion. What he doesn't know, he can look up in his Sanctum Sanctorum's library. We need to be prepared to have a spell for almost any situation.

Mystic Fists of Fury: Before opening his Third Eye fully, Strange spent some time in Kamar-Taj under the tutelage of the Ancient One, practising his combat skills in case he was ever in a situation where magic would fail him.

The Old Favourites: Whatever incarnation of the character we encounter, Doctor Strange is almost always certain to have the following items on him: the Eye of Agamotto, the Cloak of Levitation, and occasionally the Book of the Vishanti. After the Last Days of Magic event, Strange found a likeness for weapons like shortswords, staffs, and axes.

---

Stephen Strange was an ordinary human, but due to the years of exposure to otherworldly mystic forces, his biology changed to not accept regular human food anymore. This sounds like a good excuse to make him Variant Human. We get a +1 to two abilities of our choice (Intelligence and Constitution), we know how to speak Common and one other language of our choice, we get to pick one skill to be proficient in (Investigation), and we get to pick a feat. The Medic feat gives us a +1 to Wisdom, proficiency with the Medicine skill, and the ability to tend to our party members' wounds on short rests (Medicine check [DC 15], if successful - the player can use the maximum value of their Hit Dice to regain Hit Points).

Although he started as a simple physician, the turning point of Strange's life was his training in Kamar-Taj. He gained skills and knowledge, vast enough to call himself a Sage. From this background, we gain proficiency in Arcana and History, we learn two more languages, and we gain the Researcher feature; when we're to recall a piece of lore, and we don't know it, we usually can figure out where to find the information (be it a library, a temple, or somebody's private collection).

ABILITY SCORES

Intelligence is our primary stat, serving as our casting ability and our pride. Next is Constitution, all casters need to keep it high. We follow that up with Wisdom, lessons of the Ancient One granted us both humility and broadened our horizons.

Dexterity is a little low, but we'll take care of that later. Charisma is next, even after his training was complete Stephen can be a bit of a jerk and refusing to hear anyone but himself. Finally, we'll dump Strength.

CLASS

Assigning a D&D class to Doctor Strange was a very (and I mean very) difficult task. Starting off, I had to disregard his Sorcerer Supreme title, because in D&D sorcerers are born with the ability to wield magic. Strange had to study and practice to get his powers, so that makes him a Wizard. Kamar-Taj is also dedicated to studying the teachings of the Vishanti, a trinity of god-like beings who give the Sorcerer Supreme their powers, so that would make Strange a Cleric. Finally, he also draws powers from deals he made with otherworldly entities (such as Cyttorak, the Faltine, Munnopor, Watoomb, sometimes even Dormammu himself), which screams 'Warlock', except there's no way to incorporate multiple patrons without homebrewing. It wasn't easy, but I am satisfied with what I've created. Hopefully, you'll be, too.

Level 1 - Monk: We start just as Strange started, by honing our body first. Monks get the d8 Hit Dice, [8 + Constitution modifier] initial Hit Points, proficiencies with simple weapons and shortswords, and proficiency in one set of artisan's tools or a musical instrument (I'd go with alchemist's supplies). Our saving throws are Strength and Dexterity, and we get to pick two class skills (Insight and Religion).

Monks start with Unarmoured Defence. When we're not wearing armour, or holding a shield, our AC equals [10 + our Dexterity modifier + our Wisdom modifier]. We also get Martial Arts, which gives our unarmed strikes some more power. We can now use Dexterity instead of Strength for our unarmed strikes attack and damage rolls, we replace our Strength modifier with a d4 for damage of our unarmed strikes, and if we use the unarmed strike (or a monk weapon) on our turn as an Attack, we can use a bonus action to make an extra unarmed strike.

Level 2 - Monk: We get more mobile with Unarmoured Movement. Our ground speed increases by 10 feet if we're not wearing armour or holding a shield.

We also get access to the Monk's signature feature, the Ki energy. We start with 2 Ki Points, which we can spend on the following abilities:

Flurry of Blows: Spending 1 Ki Point after making an attack, lets us make two unarmed strikes as a bonus action;

Patient Defence: Spending 1 Ki Point lets us take a Dodge action as a bonus action on our turn;

Step of the Wind: Spending 1 Ki Point doubles our jump distance for the turn, and we can take the Dash or Disengage actions as a bonus action.

Level 3 - Wizard: We finally begin our study of spells and arcane arts.

Unfortunately, multiclassing into Wizard does not give us any additional benefits. We do, however, get Arcane Recovery. Once per day, during a short rest, we can choose a number of expended spell slots and refill them. The number must be equal to half of our Wizard level (rounded up), and the recovered spell slots cannot be 6th-level or higher.

Wizards also start with Spellcasting at their 1st level, and they know both cantrips and ritual spells. Our spellcasting ability is Intelligence, but unlike many other casting classes we do not get a full access to our spell list. Instead, we start with six spells in our spellbook and get two more each time we level up. Then, we can only prepare and use [Our Intelligence modifier + our Wizard level] spells at once. Describing all of those spells we pick would make this post over a mile long, and I've made that mistake with Sypha. To not make this a chore for you guys, I decided that from now on whenever I make a Wizard (or, a build where Wizard is a majority), I will simply list the spells we pick without descriptions. Let's be honest, if not here, you'll certainly find those in a different build. Alright, let's begin! First, we get to pick three cantrips:

Fire Bolt

Mage Hand

Minor Illusion

When it comes to our starting spells, let's take these six. Remember, we can only prepare a certain number, and we start with only two 1st-level spell slots.

Alarm

Detect Magic

Fog Cloud (to represent the Mists of Munnopor from the comics)

Shield (of the Seraphim)

Magic Missile (as a stand-in for the Daggers of Daveroth)

Sleep

Level 4 - Wizard: We get to pick our subclass, our Arcane Tradition. For Strange, who can be any combination of Wizard, Cleric, and Warlock, the best choice is to pick Theurgy from 2017 Unearthed Arcana. Theurgists are religious magic-users, who focus more on the arcane research rather than prayer and worship.

With Divine Inspiration, we get to select a Cleric Domain and a deity we wish to follow. Ask your DM if it's possible for you to worship three gods as a collective, a magical triumvirate. For your own Vishanti I suggest Mystra, Mother of All Magic, Azuth, the Lord of Spells, and Savras, the All-Seeing. For a Wizard, I'd say there's no better choice than Knowledge Domain.

We also get Arcane Initiate, which lets us replace spells we learn as we level up with the cleric spells of our chosen domain. What's cool about that feature is, other wizards cannot copy those spells from our spellbook. If we get all of our chosen domain's spells, we can keep replacing spells we learn with spells from the Cleric spell list.

Finally, we gain the Cleric's unique skill - Channel Divinity - except in our case it becomes Channel Arcana. We start with two effects: Divine Arcana and the effect granted by the chosen domain. Unlike Clerics, we can use the Channel Arcana once per short or long rest.

Divine Arcana lets us use a bonus action to control the flow of magic in the area. The next spell we cast gets a +2 to its attack roll or saving throw DC.

Knowledge of the Ages grants us quick insight into a skill we're not familiar with. For the next 10 minutes, we're proficient with one tool set of our choice or proficient in one skill we choose.

We gain one more 1st-level spell slot, and for this level's two spells let's get Feather Fall, and Command from the domain list.

Level 5 - Wizard: At this level we unlock 2nd-level spell slots, and we can access 2nd-level spells. Let's get Hold Person (for Strange's famous Crimson Bands of Cyttorak) and Icingdeath's Frost from 2021 Unearthed Arcana: Draconic Options (for the Icy Tendrils of Ikthalon).

Level 6 - Wizard: Time for our first Ability Score Improvement! As is the rule of thumb with all Wizards, boosting our Intelligence is a priority. That's what we shall put the 2 points into.

For this level's spells, we get another cantrip (Light), and let's take Locate Object and Mirror Image (to represent the Images of Ikonn).

Level 7 - Wizard: We unlock 3rd-level spell slots. Let's get Dispel Magic, and we can get Fly to finally get a representation for our Cloak of Levitation.

Level 8 - Wizard: We get our first subclass upgrade. Arcane Acolyte grants us the 1st-level benefits of our chosen domain. For Knowledge domain, it's Blessings of Knowledge; we learn two languages of our choice and get proficiency in two skills... which we pretty much are proficient in already. To not waste a feature, ask your DM if you can double your proficiency bonus for those two skills instead. If you get a 'yes', pick Arcana and Insight.

For this level's spells, let's get Counterspell and Magic Circle.

Level 9 - Wizard: From here, we get access to 4th-level spell slots. Banishment and Dimension Door seems like exactly what we need to keep enemies at bay and have fun with portals.

Level 10 - Wizard: Halfway through the build, and we get an ASI. Let's cap our Intelligence at 20, with those two points.

For this level's spells, let's grab Arcane Eye and turn back a little and get Speak with Dead from our domain list, as it is one of few spells not available to Wizards.

Level 11 - Wizard: We get access to 5th-level spells. With Contact Other Plane and Legend Lore, we become an even bigger magical know-it-all to aid our party.

Level 12 - Wizard: For our subclass upgrade, we get Arcane Priest, which grants us the Knowledge Domain's 6th-level benefit - Channel Divinity: Read Thoughts. One creature within 60 feet of us must make a Wisdom saving throw, or grant us access to its surface thoughts (emotions and active thoughts, no deep secrets or hidden motives) for 1 minute. During that time, we can also use our action to cast the Suggestion spell on the target; they fail their saving throw automatically.

We also get our final cantrip for this build (Sword Burst), and we get two more 5th-level spells: Planar Binding and Wall of Force.

Level 13 - Wizard: We unlock 6th-level spells. With Globe of Invulnerability and True Seeing, we upgrade our Shield of the Seraphim and give our Eye of Agamotto even more mystic abilities (as it should have had!)

Level 14 - Wizard: Time for another ASI! Let's put one point into Constitution for better HP chance, and one into Dexterity.

Arcane Gate finally gives us a proper yellow sparkly portal thingy, and let's get Chain Lightning for some much needed offensive capabilities.

Level 15 - Wizard: We're getting into 7th-level spells at this level. Mordenkainen's Magnificent Mansion allows us to recreate our very own Sanctum Sanctorum, and with Project Image we can get Strange's Astral Projection.

Level 16 - Wizard: At this level, we get our final subclass upgrade (and we cross the 100 HP mark, yay!). Arcane High Priest grants us the Knowledge Domain's 17th-level benefits. Visions of the Past lets us spend at least 1 minute of meditation to receive information about a specific object we're holding, or our immediate surroundings:

Object Reading - we learn of the object's previous owner. We know how the person came into contact with the object, how they lost it, and a significant even in their life tied to the object.

Area Reading - we see the events that transpired in the specific location (up to 50-foot cube), going back a number of days equal to our Wisdom modifier.

For this level's spells, let's get Plane Shift and Teleport to double-down on Strange's interdimensional travels.

Level 17 - Wizard: Time for 8th-level spells.

Illusory Dragon is a nice nod to the great "Doctor Strange and the Sorcerers Supreme" series (go check it out, it's awesome!), and Maze is another good banishment-type spell to have. Just don't use it on minotaurs.

Level 18 - Wizard: For our final ASI, let's put two points into Dexterity, leaving us unfortunately with an odd number (hopefully, you'll manage to find some ability-increasing item or benefit in your adventure).

For this level's spells, let's grab Power Word: Stun and Demiplane is a good combo to immobilize a foe and send it to the Shadow Realm Mirror Dimension.

Level 19 - Wizard: We unlock the pinnacle of D&D arcane, the 9th-level spells... that is, unless your DM introduces High Magic, which is... whew, a league of its own.

Time Stop and Foresight give us those Time Stone abilities (for all you MCU degenerates. Yes, I know what I said, but Strange was given the Time Stone in his new run, so I did not lie!)

Level 20 - Wizard: Our capstone is Wizard 18, which gives us the Spell Mastery feature. We get to choose one 1st-level spell and one 2nd-level spell from our spellbook and make them our signature moves; we can now cast them at will, without expending a spell slot. Shield and Hold Person seems like a good choice here.

For our final spells of this build, we cannot go without Astral Projection, and let's get Imprisonment a chance.

---

And there we go! Doctor Strange, Master of the Mystic Arts. Let's see what we've created:

First of all, we're the epitome of Wizard, we're a great utility caster and a pretty good support, with Internet-like capability of finding information. We're don't have a lot of damage-dealing abilities, like Sypha did, but remember - Wizards also get spell by finding them in the world and copying them in their spellbook. This here is only what we get automatically. Go and roam the world in search for that Fireball!

We have AC of 14, but with Shield (and later making it pretty much permanent) it can get up to 19, and we have 130 Hit Points on average. Our speed is also a little better, with 40 feet of movement (plus flying thanks to the Fly spell).

Unfortunately, our Charisma and Wisdom are not great, so those saving throws might be difficult. Our Strength is also not the greatest, so we're pretty much forced to fight with magic.

---

And that is it! Next time, we return to SMITE for a few builds, as I absorbs information about Fire Emblem: Three Heroes. Also, the game devs just released a teaser for Morgana le Fay, and my first reaction was 'Hexblade Warlock'. Do you agree?

Anyway, hope you enjoyed it and your day is going great. I'll see you next time!

- Nerdy out!

[tinyshe]

The global COVID response is simply the exercise of absolute power instead of science For bureaucrats and politicians, gaining power and compelling submission are victory enough, even when their policies fail to vanquish a virus.

Tue Aug 31, 2021 - 2:03 pm EDT  

(American Institute for Economic Research) – Since the start of the COVID-19 pandemic, lockdown champions have perennially invoked “science and data” to sanctify any mandate politicians impose. Hard facts have recently shown that neither vaccines nor face masks provide surefire protection against the virus. But no amount of evidence has yet shaken faith in the magic of absolute power.

COVID policies are increasingly degenerating to the equivalent of sacrificing virgins to appease angry viral gods. New Zealand on August 24 imposed a nationwide lockdown in response to a single COVID case in the capital city. Prime Minister Jacinda Ardern ordered her captive citizenry: “Do not congregate, don’t talk to your neighbors. Please keep to your bubble.” Arden asserted that “complying with these rules, making sure we do all we can to stamp it out, still remains the best strategy in the world right now.” Ardern did not deign to explain why almost no place else in the world, including places with vastly more COVID cases, sought to outlaw everyday conversations.

In Australia, the military is patrolling city streets to enforce the latest lockdown. Daniel Andrews, the Premier of the state of Victoria, recently decreed: “There will be no removal of masks to consume alcohol outdoors.” One Aussie lamented, “My business has been forcibly closed. Everyone has been sent home without pay. We are banned from leaving our homes except for the 5 reasons given by the Government.”

There is no “science” to justify prohibiting Australians from going more than 2 miles from their home. But New Zealand and Australia presume that no one will be safe unless government officials have jurisdiction over every breath that citizens take.

In the United States, many of the same pundits and activists who howled about the evils of “microaggressions” are now cheering for the government to forcibly inject everyone with a COVID vaccine. Biden publicly declared that he is checking to see if he has the power to force everyone to get injected.

Biden endorsed the vaccination passports that some cities have already imposed. Radio host Grant Stinchfield commented, in Los Angeles “you can [defecate] on the street, shoot drugs in crack tent on the sidewalk and even steal anything less then (sic) 900 bucks but now you have to show papers to get in a restaurant or gym!?!?” New York City’s passport regime effectively bans the majority of blacks from many activities of daily life, since they have a much lower vaccination rate than other groups.

Far greater restrictions may be on the horizon. The Associated Press reported that the Biden administration is considering “mandating vaccines for interstate travel” but is delaying any such decree until “Americans were ready for the strong-arming from the federal government.” A top former Homeland Security official has called for placing anyone who is not fully vaccinated on the No Fly list, thereby expanding the list to scores of millions of people and creating new havoc for air travel. Biden administration officials have offered no evidence that such restrictions would end the pandemic but it would permit the president to demonstrate the same machismo that President Nixon showed with his illegal invasion of Cambodia in 1970.

Politicians’ anti-COVID recommendations increasingly resemble frightened soldiers shooting at any noise they hear in the dark. NIH Director Francis Collins recently condemned the “epidemic of misinformation, disinformation, distrust that is tearing us apart.” But much of the misinformation has stemmed directly from the Biden administration’s flip-flops and fearmongering. On August 3, Collins announced during a CNN interview that “parents of unvaccinated kids should… wear masks” in their own homes. He conceded: “I know that’s uncomfortable, I know it seems weird, but it is the best way to protect your kids.” A few hours later, Collins recanted on Twitter, perhaps after other political appointees persuaded him to stop sounding like a blithering idiot.

COVID misinformation started at the top. In a CNN Town Hall last month, Biden declared, “You’re not going to get COVID if you have these vaccinations.” Biden administration officials kept reciting the “pandemic of the unvaccinated” refrain long after it became clear that vaccines were rapidly failing to prevent the spread of COVID. On August 8, CDC Director Rochelle Walensky finally admitted: “What [COVID vaccines] can’t do any more is prevent transmission.” Helluva asterisk. Prior to that, the Biden administration even refused to disclose the number of “breakthrough” infections that had occurred among White House staff. Prof. Eric Topol complained that the CDC’s false statements on COVID risks was a “blatant failure putting millions of vaccinated Americans at unnecessary risk for breakthrough infections.”

On Thursday, a front page Washington Post article castigated the CDC for withholding COVID information from the public, noting that its “overly rosy assessments of the vaccines’ effectiveness against delta may have lulled Americans into a false sense of security.” Tom Frieden, former CDC director under Obama, suggested that the long delays in disclosure led some people to “wonder if the CDC is hiding results.” CDC Director Walensky responded to the debacle by promising “to develop a new forecasting and outbreak analytics center to analyze data in real time,” the Post reported. The CDC apparently did not previously consider it worthwhile to spend any of its $8 billion annual budget on such a project.

The Biden administration has sought to blame the resurgence of COVID on scofflaws who did not submit to every revised command. The Official Enemies List has expanded from those not wearing a mask to those resisting getting vaccinated, and it will soon include those who balk at getting a third (and fourth? fifth?) injection.

 The biggest expansion of the Enemies List occurred on August 13, when the Department of Homeland Security issued a terrorist alert, warning law enforcement agencies that “anti-government/anti-authority violent extremists could exploit… potential re-establishment of public health restrictions across the United States as a rationale to conduct attacks.” Anyone who loudly objects to being locked back under house arrest will be the moral equivalent of the Taliban, or maybe Hezbollah. Previous federal driftnets for potential troublemakers expanded far beyond individuals who threatened violence. The feds may already be compiling vast lists of COVID critics that could come in handy at some future point.

But at least government officials now recognize the real enemy. COVID Czar Tony Fauci recently declared, “I know people must like to have their individual freedom… but I think that we’re in such a serious situation now, that… mandates should be done.” Fauci predicts that once the FDA rushes its formal approval of the COVID vaccines, there will be far more mandates imposed on Americans. The fact that the efficacy of the Pfizer vaccine has fallen to 42% is irrelevant. A vaccine isn’t a failure as long as the government can force everyone to get additional injections.

The primary “evidence” for most COVID policies is the job title of the government official issuing the decree. As University of California San Francisco professor of medicine Vinay Prasad wrote last month, “When it comes to non-pharmacologic interventions such as mandatory business closures, mask mandates, and countless other interventions, the shocking conclusion of the last 18 months is this: We have learned next to nothing.”

Prasad slammed his colleagues for failing to do reliable research on key issues of the pandemic: “Anyone who considers themselves a scientist should be embarrassed by our collective failure to generate knowledge, and this failure is once again looming large.”

For bureaucrats and politicians, gaining power and compelling submission are victory enough, even when their policies fail to vanquish a virus. Citizens are obliged to assume “government knows best, even when it knows little or nothing.” People won’t get infected as long as they are groveling to federal commands, right? Unfortunately, the government has no liability for the injections it approves or the freedoms it destroys.

Faith in absolute power is not “science” – regardless of how many scientists pledge allegiance to Washington in return for federal funding. As historian John M. Barry, author of The Great Influenza, observed, “When you mix politics and science, you get politics.” There is no safety in submission to damn fools, regardless of their pompous titles.

Reprinted with permission from the American Institute for Economic Research

LifeSiteNews has produced an extensive COVID-19 vaccines resources page. View it here.

source x

[tejparker97]

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[clarissaartap]

Jeepneys by Manansala 1951 Enamel on fiberboard 51 cm x 59 cm

     Born on January 22, 1910 in Macabebe, Pampanga, Vincente Silva Manansala is an acclaimed Filipino painter and artist. In his youth, he considered his hobbies, kite-making and creating charcoal sketches on paper, as fun, temporary escapes from his labor-intensive jobs of being a newsboy and shoe shiner in Intramuros. At the age of 15, he found that his inclination to the arts brought him under the mentorship of Ramon Peralta to learn the fundamentals of painting at a sign and poster shop. A year after, he enrolled at the University of the Philippines School of Fine Arts. When he graduated in 1930, not only was he able to master the basics of oil-painting, but he was also able to merit a great deal of financial aid, scholarships, and grants from art establishments around the world due to the artistic prowess and prodigious creativity he displayed during his stay in the institution. Later in his career, he received multiple awards and held positions in esteemed local and international art establishments. 

   The education and training he took up in countries like France, Canada, the United States of America, and Germany, was reflected in his approach to his artworks, which were obviously products of international influence. It was refreshing in the local art scene at that time, which drew in a massive audience for his exhibits. Rapidly gaining popularity, Vicente’s eccentric aesthetic made him a pioneer of modernism of the arts in the Philippines. His style could be referred to as “transparent cubism,” which involves scattered facets of varying hues across the painting. His paintings created lasting impact to their audience, as his technique seamlessly blended geometry with expressionism, calculation with spontaneity. His genius as an artist transcends beyond his technical innovation, as the subject matter in his paintings, centered on the post-war urban experience, spoke to a new Filipino audience. The end of World War II sparked a type of social awareness that Vicente tastefully incorporated into his artistry. As he took inspiration from his immediate surroundings, Vicente’s paintings revolved around the life of the commoner. He took everyday scenes, objects, and places, like family gatherings, cockfights, native delicacies, the slums in the urbanized areas of the country, religious figures, and painted them in his slightly more westernized fashion that somehow made them iconically Filipino (Paras-Perez, 1980).

   Jeepneys is the title given by Vincente to his work. Based on the title, and the painting itself, the image he intended to create was the daily traffic congestion in the metropolis. Given that the jeepney is one of the most affordable means of transportation readily available to the masses, Vicente probably wanted to cement the theme of daily Filipino encounters as the core of his collection. This work was made in 1951, just six years after the war ended. It is known that jeepneys quickly surfaced as a makeshift, creative way in an effort to re-establish inexpensive public transportation, much of which had been destroyed during World War II. This was done by repurposing and decorating the surplus jeeps from American troops in order for it to be suitable to accommodate several passengers and look visually appealing, colorful, and eye-catching as it traveled on the road (Platino, 2014). The popularity and the history of the jeepney during that time may have also prompted Manansala to create this artwork. The painting is currently displayed in the Ateneo Art Gallery as a gift from Fernando Zobel. 

   Jeepneys is a painting done on a fiberboard using enamel. A wash of white and bright yellow was laid down first, before hasty, daubs of other colors in varying saturations, like orange, red, and brown were applied. The use of enamel on fiberboard allowed for the different-colored strokes to be semi-translucent and glassy without the need for tedious modification of the paint, permitting the yellow hue to penetrate through the secondary layer of pigments. This mimicked a filter of warmth throughout the piece and brought about a more cohesive color palette. The presence of the different colors also distinguish one entity in the painting from another, allowing for clarity of scenery despite the expressive style employed by Manansala. This clarity is also achieved through the use of actual, irregular, black lines that serve as outlines of the subjects in the painting. The inconsistency and coarseness of these lines give a sense of spontaneity to the piece. On top of these outlines, smudges of warm blues were added as accent colors to impart variety against the otherwise unified, chromatic value scale of only varying shades of red and yellow; this makes the painting more interesting and more captivating of the attention of its viewers. Slivers of white highlights also creep through the painting. 

   With the guidance of the chromatic value and the black outlines in the painting, I can identify many jeepneys and people as subjects, which makes me infer that the setting is an urbanized area, like Metro Manila. In the upper portion of the painting, I can see even more people, lined up, probably waiting for a ride to get where they want to be. I deduce that these are common Filipinos, patiently queuing for transportation to get home from work. The reds and yellows make me believe that it is sunset, or time for people to return to their homes after a day at their jobs. The primary colors of the painting may also signify the colors of the Philippine flag, in order to place emphasis on the Filipino origins of the jeepney, and on just how routine the scenario depicted in the painting is in the country. 

   Unlike the vast majority of Manansala’s works, this particular painting of his makes use of more organic shapes than geometric ones, a hallmark of his signature “transparent cubism” style. Similar to his other paintings, this painting is composed of superfluous shapes of different colors that contribute to an overall puzzle-like look. The distribution of these shapes and visual weight is more or less uniform across the entire work, which makes the painting balanced. The irregularity of the shapes, formed by both colors and lines, also evoke a touch of movement and life to the whole piece to be perceived by the viewer. There is also very minimal negative space in the painting; the fiberboard is saturated with different objects and characters. This gives the piece an disorganized rhythm which almost makes the conveyed scene feel chaotic to the viewer. The seemingly rough texture of the painting, probably achieved through the use of a fiberboard with grooves and indentations as its canvas, gives the painting a rustic, undone edge. There is also an absence of a defined vanishing point in the painting, which makes the elements appear very packed and arranged in a collage-like manner.

   In my opinion, all of these elements reinforce the mayhem and frenzy of the traffic scene in the painting. Manila is known for its notorious traffic; streets are rarely peaceful in the midst of the relentless honking of vehicles, the reckless attempts of drivers to beat a red light, and the rowdy crowds of people on the street desperately trying to find a good deal or any sort of transportation to get where they need to be. The dynamism and movement in this painting, that I was able to immerse myself in, was successful in transporting me into the legendary Manila traffic. Given that this painting was made just a few years after the end of World War II, the Philippines was eager to rebuild its economy that had suffered tremendously during the war. This could have led to more Filipinos joining the workforce, and the subsequent increase in the number of people that had to be on the road to earn a living. The work of Manansala, Jeepneys, through its elements and composition, has successfully communicated the essence of a bustling city, brimming with vitality just as it is with madness. 

   I have utmost respect for Filipino artists like Vincente Manansala, who use their acquired techniques from other parts of the world to help in the progress and development of their own country. Jeepneys, along with Manansala’s other paintings and illustrations, is a carving etched on the history of art in the Philippines, as he spearheaded the rise of modernism in the local field of art. Other artists like Mauro Malang Santos, Antonio Austria, Angelito Antonio, and Mario Parial have been inspired to experiment with their own distinct, unconventional styles in painting because of the contributions of Manansala. His artistry birthed a new generation of artists that embraced their personal aesthetics. Beyond his mastery of art, I commend him for the common thread of daily, purportedly hackneyed conventions in the lives of everyday Filipinos that is firmly woven throughout his series of paintings. He shows that the average Filipino is worth creating art for. An image of the traffic-bombarded roads of the city are just as enthralling as extravagant portraits of doñas and dons, paintings of picturesque views that only the upper class can afford to see in a lifetime, and illustrations of glamorous novelties. I believe that in a way, Manansala’s work was able to open the once inclusive, intimidating realm of art to other people who resonate with his work that captures the unfeigned, honest heart of the Filipino. 

   To me, this painting does not necessarily pass the classic standards of rhythm, harmony, balance, and proportion, as it does in fact look disarrayed at first glance, especially when I consider that Manansala did in fact intend for this painting to represent a scene of jeepneys. It might even be difficult for some to make sense of the painting at first. In spite of this, I cannot help but be in awe when I look at this painting, maybe because a sight that I am so familiar with, has been transformed into a expressive impasto of color, with details that take my gaze from one impressive fragment to another. The more I look at the painting, the more things I am able to find that make the work even more fascinating. I do find significant cultural value in this painting as well. The use of primary colors keeps the painting grounded in its Filipino roots, and it also allows for a more graphic projection that the jeepney is a mode of transportation unique to the Philippines. Its history of it being a product of Filipinos’ resourcefulness and resilience after the war makes it a cultural staple in the country. There is a deep heritage and origin to something deceivingly simple like a humble jeepney, like there is a hidden complexity and masked grandeur and to the everyday, seemingly mundane, themes of Manansala’s works. 

References:

Paras-Perez, R. (1980). Manansala. PLC Publications.

Platino, M. (2014). Philippine jeepney: World War II surplus vehicle that became a cultural icon. Retrieved from https://globalvoices.org/2014/04/20/philippine-jeepney-world-war-ii-surplus-vehicle-that-became-a-cultural-icon/

[lassieposting]

Do you have a HC on angel/demon bodies in the Lucifer universe? Like, it seems that the goddess never her own physical body based on what Maze said about when she was in hell. And we know that demons possess humans, but do you think they have their own bodies as well? If they have their own do they leave them behind when possessing? Do you think Maze’s form is her own or did Lucifer allow her to possess a recently deceased human so that she could accompany him to Earth? What about angels?

oh my god i have so many thoughts on this i dont even know how to structure this post, literally this is me rn

post under the cut because yet again this bitch be ramblin

ok so, starting with the celestials

GOD

I’m not gonna elaborate too much on God, because I’m in the middle of writing a fic which elaborates on how I see his body/physical shape working and it would spoil a twist. But a few non-spoilery thoughts: 

- God and Goddess are completely different species, from different universes

- God is - as far as he knows - the last of his kind. The universe he was born in was destroyed by a massive war; his species are naturally peaceful and he had no part in it. 

- His species are immensely powerful; he can cross between universes with ease as an adult, and the ability to create universes is a species talent, not an individual one. They can all do it. They live for billions upon billions of years in deep space, so that’s how they pass the time. 

- He’s naturally telepathic. Goddess is not at all, and the angels inherit this from him but only to a very minor degree - they can sense when another angel is in the area, but can’t actually perceive one another’s thoughts. 

- He doesn’t originally look like us. Not in the slightest. But changing his shape is very easy for him, and he is capable of “modifying” his own internal biology, so he can and does choose to take a human shape - having hands with which to manipulate objects is useful when you’re no longer living in deep space, and being able to communicate verbally is useful when you’re the only major telepath in your (very large) family. 

 GODDESS

- Goddess does have a solid, physical form, and she actually has our basic shape too. “Two arms, two legs, a head and a body to hang them on” is a popular evolutionary route in her native universe. 

- Humans and demons, however, don’t have the right eye equipment to see her properly. Humans see in three dimensions, demons in one or two more, but neither species has enough perceivable dimensions or colours to actually make sense of Goddess’ true form. We see her as a blur of light, because that’s all of her that’s visible to us. We’re actually only able to see like, 30% of her and it makes our brains freak out some. 

- Lucifer knows this, but neglected to mention it to Maze when she was torturing Goddess in Hell. He did nothing to defend her when God kicked her out, because he’s smarting over her abandoning him, but at the end of the day she’s his mom and he loves her. He’s the only one in Hell who can see her properly and interact with her physical form, and there’s no way he’s going to actively participate in his mother’s torture. 

THE ANGELS

Now, I believe “canon” says that the angels were created as adults, but fuck that, because baby angels. 

- The angels were created with wings, but they don’t get their first feathers until they’re toddling, so they’re like weird little naked birds for a bit. 

- They moult every few hundred years while they’re still growing, and they don’t get sharp primaries until they have their adult feathers. Once they’re fully grown, they won’t moult again, but they’ll grow new feathers if the ones they have fall out or are damaged. 

- No one actually knows how long their lifespans are. No angel has ever died of natural causes. But they’re long. The angels Chloe knows are archangels, the oldest, and even though they’re physically full-grown adults they’re barely out of celestial puberty. Tom Ellis plays Lucifer as having the emotional maturity and worldview of a teenager. Amenadiel is the overtired early-20-something having to live away from home for the first time. 

- Their abilities are genetic - they were born with them and have a chance of passing them on to any nephilim they create - and they start manifesting around the toddler stage. 

- The toddler stage is fun, actually. Way worse than the terrible twos for humans. Their first set of feathers come in which is itchy, they’re teething, they can talk enough to be defiant, they’re climbing up/falling off everything, their powers start developing, they’re clingy, and the tantrums are spectacular. 

meanwhile, in hell

in my headcanon, hell is home to three classes of demons:

ELDRITCH DEMIGODS

- the oldest, most dangerous and rarest creatures in Hell. They did not create the dimension Hell is located in, but they did shape the landscape and were the original rulers of the dimension.

- the original users of what demons call magic. lucifer learned some of this during his time in hell - illusions, levitating his pentecostal coin, his desire ability, the fine art of binding someone with a deal and get yourself out of any situation with a loophole. 

- the eldritches feature prominently in my fic but have absolutely nothing (as far as I know) to do with canon - the only reason I’m including them here is because my personal headcanon is that Lucifer’s angelic gift is his light. His “hypno eye thing” is something he learned while he was in Hell. he wasn’t lying with what he said to chloe - it’s a gift from a god, but not a gift from his father, god. 

HELLBORN DEMONS

- these demons have no human DNA at all. 

- they’re older than the lilim, and more physically powerful, but they’re less adept at magic (glamours, for example) and mind games. 

- hellborn demons look nothing like humans. they might not be bipedal at all; leviathan is a giant sea serpent. spines, extra jaws, multiple sets of teeth, a ridiculous number of limbs, too many or too few joints, no eyes at all, exoskeletons etc are all perfectly normal demon traits.  

- those that have eyes are red, yellow or black. my hc of hell is inspired by the very deep ocean though, so it’s just as common to have no eyes and a superior sense of smell, or electroreception, or sonar, instead. 

- they can learn to glamour, but they still wouldn’t look right. there would be something subtly off about them, something in the mind of any human looking at them screaming at them to run. they’re the basis of those horror stories where someone looks just a little wrong; they don’t blink enough, or seem to have too many teeth, or they walk wrong. 

- they’re more durable than lilim demons. short of a celestial, an eldritch or a bomb, nothing stops these fuckers. they can come back from insane injuries that would absolutely kill most life forms. if you leave one critically injured but don’t finish it off and make sure, chances are it won’t die. it’ll crawl off and recuperate and come back for you later. 

THE LILIM

- the lilim are the descendents of lilith and, as such, they have human DNA. the closer their link to lilith, the more human they appear - maze, for example, is almost entirely human in appearance except for one half of her face. the more distant the link to lilith, the less human DNA they have, and the less human they appear. 

- really common lilim traits: claws, fangs, scales, horns

- almost all lilim have the human body shape and facial features arrangement, so they’re bipedal with two eyes, a nose and a single mouth. yellow, red and black are all pretty standard demon eye colours, but lilith’s eyes are white and her children tend to inherit them. the more diluted her blood gets, the less likely a child will have her white eyes.

- with practice, the lilim can glamour their demon features and pass undetected among humans, unless they choose to reveal their real face.  their physical strength, speed and heightened senses remain the same even under a glamour. 

- because of their human ancestry, lilim demons don’t need to possess a dead human body. but it’s a lot more convenient. to leave Hell in your own body, you need to a) leave through the front gate and b) have a way of generating enough energy to shunt you across the divide between dimensions. for maze, this was lucifer; he carried her out of Hell. but she can’t return (or get out) without him. God, Goddess or any of the eldritch abominations would also have that level of power. 

- plus, like. with a dead human body, you can take as much damage as you like or commit as many atrocities as you fancy and just change your body when you’re done. you don’t need to be careful of injury or worry about sustenance. and you don’t have to compete with anyone else in the same head, which is a vast improvement over possessing someone living.

[evilelitest2]

Warhammer Paper

I wrote this for a history class on Warhammer Fantasy, some people have asked me for it so here you go 

Neither Holy nor Roman nor an Empire: Warhammer Fantasy’s Imagination of the Empire

A note on terminology.  Warhammer is the larger brand that all of the following games fall under, with a specific aesthetic, culture, and identity in the larger fantasy space.  The property is divided into two types of games, and two “settings”.  Warhammer Battle, a wargame, which players take armies of miniatures. Warhammer Roleplay, is a table-top roleplaying game ala Dungeons and Dragons set in the Warhammer world.  These games are split between two settings, an imagined world where the action of the games are supposed to take place, so the battles between the Ogre and Daemon armies are given a context within the world of the fantasy.  The settings include the original Warhammer Fantasy, and it's far more popular science fiction equivalent Warhammer 40000 (usually known as 40k).  This work will look primarily at Warhammer Fantasy and not 40K,  specifically its depiction of the Holy ROman Empire in its fantastical equivalent, the Empire of Man.  Warhammer Fantasy draws heavily upon early modern history for inspiration, down to its own world map.  

The world of Warhammer Fantasy, in contrast to works like as Lord of the Rings, draws primarily upon historical influences to populate its world.  The Kingdom of Bretonnia is obviously inspired by France, the Empire of Cathay and Nippon aren’t even hiding that they are based on China and Japan.  And the core part of  the setting where most of the action is set, is the Empire of Man, inspired by the Holy Roman Empire, with its Emperor elected by a series of Elector-Counts ruling over a deepy decentralized state.  While Warhammer Fantasy is a somewhat comedic game, it is worth studying how it depicts the Holy Roman Empire, because that is how much of its Anglophile audience is going to first learn about its real life equivalent. 

The subject of this paper is Warhammer Fantasy (WF), the series that started the Warhammer franchise.  This setting encompasses both the games of Warhammer Fantasy Roleplay (WFR) and Warhammer Fantasy Battle (WFB), and I will be using the books from those games interchangeably because, while they are different games, the setting and the lore is the same,.   Warhammer Fantasy is set in “The Old World”, a fantasy world under constant threat by supernatural forces.  While the world is populated by a variety of fantasy creatures like Ogres, Dwarves and Elves under threats of “Daemons”, the main focus of the world are the human kingdoms, roughly modelled after real life historical societies.  While the entire world is loosely sketched out, most of the action of the game is set in “The Empire of Man”, located in the middle of a fantastic version of early modern Europe.

The franchise of Warhammer is wargaming, where player enact battles with an army of miniatures on a board.  These miniatures must be purchased from Games Workshop and prices can run as high as over $100 dollars for a monster miniature, meaning the game is limited to an affluent fanbase.   Players don’t simply buy the minaturse, they also paint them, the miniatures when purchased as black and white pewter figurines which the player paints with brushes and paints also provided by Games Workshop.  The games website has recommended colors for each type of figure but players may customize their mainatures as they choose, giving players a personal connection to their own collection.  While players may purchase as many miniature as they wish, officially each set of minaturse is organized into different “armies”.  Each army has a theme and unique design, and units from a particular army is only supposed to work within its own army.  So for example, the High Elf Army are the only units who employ High Elf Mages.  The Knights of Bretonnia cannot be used in the armies of the Empire.  These armies each have a unique play style and most players can only afford to play with a few armies, generally leading to players committing to a single army they identify with.  In addition to buying miniatures and paints, players must also buy the rules for play. In addition to the general rule book must be bought by all the players, each specific army also has a special rule book known as a codex.  The codex does not only contain the specific rules for each army but also the story line, character descriptions and society of each faction.  For example the empire codex contains not only the specific rules for each unit but also the personalities of the individual important figures, the history and culture of the empire and the character of the empire as as a whole, complete with pictures.  

In game design terminology, the is the divide between what is called mechanics and story (or fluff).  Mechanics covers the actual game play such as how much damage each each unit deals and what special attacks they have, while the story covers the specific character of each unit.  Warhammer Fantasy was started in 1983 and has gone through 8 editions until the game eventually ended in 2010.  The first two editions were actually nothing but armies with no story with them at all beyond a few sentence, it wasn’t until third edition came about in 1987 that the actual setting was created and the Empire of Man existed as anything more than “The human faction”.   And from every edition since third, new codex have come with update the story, introduce new factions, or change the state of the world.  

The variant game Warhammer Fantasy Roleplay ues entirely different mechanics but the same story.   The experience of a tabletop game, modelled off Dungeons and Dragons, a form of interactive storytelling, consisting of several players sitting around a table.  One player is called the Game Master (GM) who creates the story and maintains the rules.  Each of the other players creates a single character who they control.  Each character has a set of powers and the characters can take actions which are determined by dice rolls.  So if one players wants theri character to attack a goblin, they roll dice to see if he is successful.   The characters work together to try to overcome the challenges the GM throws at them.  Rather than vast battles, the mechanics of roleplay tends to have a greater emphasis on character interaction, the day to day living of the characters, and small scale combat.  So mechanics exist not only for combat but also for socializing, stealth, and crafting objects, and these rules are laid out in large hard copies called Gamebooks.  For the game to be played one person in the groups must have the Core Rulebook, but supplementary rulebooks exist covering other aspects of the world and the game.  Each rule book contains both mechanics and story, however the story in these games is far more in depth and detailed than the Wargaming counterpart.  For example, the primary source for this paper is Heirs of Sigmar, a supplement book designed to flesh out the culture and history of Empire.  It contains some specific rules, but the vast majority of the book is simply story, which does not contradict the story of the Wargame.  Thus both games share the same story even as their mechanics are entirely different.   The fact that two games with entirely different mechanics can have the same story shows that the mechanics don’t contribute to the story, which is known in ludology as “Ludonarrative dissonance”.   

  Ludonarrative means ‘play narrative’ and refers to when a game’s narrative is expressed via its play.  To use an example from video games, in acclaimed horror game Silent Hill 2, the ending of the game changes depending on how the player acts in game.  Should the player use reckless tactics, rarely heal, and avoid stealth options, then the protagonist, James Sunderland, will commit suicide at the end of the game.  If the player is cautions and explores the area, they will leave the town to make a new life.  Ludonarrative dissonance is when the narrative of the play is in direct contrast to the narrative of the story itself.  In both games, the mechanics of Warhammer fantasy are largely disconnected from its themes and story.  All this to say, this essay will not be looking at the actual gameplay or mechanics, which have very little to do with its understanding of the empire.  The focus of this essay will be solely on the story content provided in the game books, thus little engagement will be made with ludology of the game, which could be the subject for a future paper.  As this franchise has been around since 1987, I will be drawing primarily upon the WFR book Heirs of Sigmar a guide to the Empire, and the 6th, 7th, and 8th Empire codexes, which go into the most detail about story rather than rules.    

The Empire is 2532 years old when the book is set, and its history is told through a series of epochs.  Humanity lives as primitive tribesmen until they discover the gift of iron, which leads to a time of barbarism and war. This ends only when a great warrior, Sigmar, unifies them though faith in his wolf god,and force of arms.  Sigmar ruled wisely and justly, setting up most of the institutions of the later empire, and upon his retirement, the 12 great Counts instituted the Elector system.  For a thousand years the empire goes through a prosperous golden age, expanding across the continent and becoming the greatest military force in human history, referred too as “The Birth of Nations”.  This time of wonder ends with the age of decadence, as the upper classes gave up their concerns for the state to enjoy affairs, fine foods, and frivolous spending (much of it on art and fashion).   Emperor Ludgiw II Honenbach “The Fat” makes his halfling cook an Elector, and the cult of Sigmar into the official state religion of the empire before “died in bad a short while later-smothered to death by his own neck fat”.  This period of luxury eventually ends with a great plague, and civil war, Boris Hohenbach “the Incompetent”, is so corrupt he effectively cedes all control to the feudal lords rather than the Empire.  It is the decentralization of the empire that marks its decline, known as the “Time of Judgement”.  It wasn’t until  the election of the martial Emperor Mandred I, whose reign brought stability if not prosperity to the realm, and his even more marshal successor Magnus who unified the Empire through “sheer force of will and belief” that this time of instability came to an end..  

The games presentation of history is standard for the fantasy genre, and is both simplistic and rather conservative.   Every event in the Empire’s history has a single cause, whole centuries can be summed up with rough generalization, and history is moved by individual men.  And it is always men, during the first 1750 years of history only 3 women are mentioned, a nameless priestess to the goddess of diplomacy, a frivolous vain noblewoman, and a failed usurper, each with half a sentence of description.    The lack of female representation is a consistent pattern across the Warhammer franchise.  The good rulers are universally military commanders whose reigns last decades, as prosperous as they are vague.  The Empire has an astronomical time frame but largely does not change except in the way of technology, it is always Germanic, decentralized, highly militant, and worshiping the same gods.  The Empire is largely timeless, only changing when an in-game event requires it.  

The effect is a state that is largely timeless, an eternal stereotype that simply exists with only slight variations, a deterministic view of society that fits many fantasy settings.  Fantasy tends to imagine the past as one of stasis, the states that exist have done so for a long time and will continue to do so unless something truly cataclysmic occurs.  Within that existence, they will stay largely the same across there history, if changes occur it will be due to a specific ruler or a major event.  Fantasy imagines time as a stalled machine, awaiting a radical push to make it move slightly ahead before stalling out.  If fantasy serves as one introduction to historical societies, it can give the impression that the Empire was a static entity, existing for centuries largely unchanged.  This can very easily move into essentialism, one can simply dismiss the empire as a thousand years of stagnation and its people effectively the same.  We see this essentialist approach later when the book describes the specific provinces, all of which have been largely the same for 2500 years, as having a specific character that defines them, even at some point implying it is due to bloodline.  

At their worst, Nordlanders are churlish, uncouth, and thoughtless speakers. Even the merchants of Nordland have this blunt approach, though they seem to be fine with double dealing. Indeed, they have found that shouting the final price of something loudly and repeatedly has a profound effect upon merchants used to the subtleties of barter and negotiation. Many provinces point out that this is because of their mongrel Was Jutone, Teutogen, and Norscan bloodlines. This mixed heritage has been a source of Nordlander shame. Modern Imperials look on Norscans with a mixture of admiration and fear, seeing them both as powerful warriors and wild, uncivilised barbarians, not to be trusted around one’s daughters or sheep. A popular Imperial saying runs “Character is in the blood,” meaning that ancestry determines character. Thus Nordlanders, though of the Empire, are often regarded as “not quite one of us,” rougher and more uncouth even than the wild and hairy Middenlanders.

It effectively buys into primordialist narratives of human society, that when human beings first emerged they have characteristics that stay with them across all of time, like French Nationalist narratives claiming the Gauls and modern French share similar values and disposition.  This is a common trope in fantasy, but by tying it to a real life historical entity, it gives the impression that this has some relation to German history.  

As to what the Empire’s essential qualities are, Warhammer seems to been written with Voltaire’s misunderstood condemnation in mind.  The Empire is deeply incompetent, disorganized, corrupt, and maddingly complicated. As Warhammer Fantasy was originally a comedy game, the section on the political structure of the empire was originally presented as a joke at the expense of the Empire.  

But while the rhetoric around the empire is mocking contempt for its decentralization and overlapping spheres of influence, the Empire of Man in fact is not that complicated.  While it is a decentralized feudal state with an elected monarch, and overlapping legal systems, it is actually less complicated than the real Holy Roman Empire.  The Vatican is located within the Empire, the royal family has no international element to it, there is no equivalent to the Spanish Habsburgs or the American Colonies, no crownlands or Greater Hungary, and of course the empire has one language.  In fact, the Holy Empire seems far more like a unified Nation-State than its real life counterpart..  One of the most notable changes made is that it doesn’t have an equivalent to the Hapsburgs, the Emperor is simply elected from among the Electors rather than from an Imperial family, and so one of the greatest elements of internationality has been removed. The fact that the empire is so much more cohesive and yet is mocked by its creators for its instability indicates just how much the ide of the nation-state has become normalized that a state not being utterly centralized is seen as strange.

Where this simplification and disinterest in the empire gets interesting is its approach to nationality or rather lack of one, as the Holy Empire is entirely German.  The word German never appears in the books of course (though the term Teutonic certainly does) but the culture of the Empire is clearly German, the Emperor is named Karl Franz, its greatest warrior is named Lugwig Schwarzhelm, and the Reiksmarshal is named Kurt Helborg.  The capital city is Altdorf (Vienna), and one of its famed military units are known as the Landsknecht.  However the empire has no stand in for Hungary, Bohemia, Slovenian, Slovakia, or Poland, the culture is almost entirely German.  The only exception is the semi-independent province of Sylvania, which is loosely based on Romania, though its depiction owes more to Bram Stoker than historical reality, ruled as it is by the vampire counts, and clearly based on Transylvania but with a Romanian cultural influence.  

This Germanization shouldn’t be surprising considering that Games Workshop is a British company whose audience is overwhelmingly American and Canadian.  None of the major designers are historians or have any expertise in the region nor do any of them mention any central European heritage.  The Anglo-American world and the fantasy genre is not particularly well informed about Eastern/Central Europe, to the point that The Witcher, a Polish inspired fantasy game was released, it was praised for bringing attention to an unappreciated region.  Germany is far more familiar, as is Romania thanks to Dracula, but as there are no major fantasy works featuring any of the other components of the Holy Roman Empire. Thus the Empire becomes a Germanic one, simply decentralized, with no Slavic, Magyar or Ottoman cultural influences to be found within its defined borders.  This general ignorance of the region also explains the rather reductive embrace of Western dismissals of the Holy Roman Empire.  In fact compared to most fantasy narratives, Warhammer is almost orientalist in its approach to German culture, the book presents German culture as exotic and strange, an the art work empathises the Gothic architecture and black armor much like similar fantasy exoticizes fantastical depictions of Japan.  

Ironically, this ignorance of the region means that the Empire avoids many of most common troubled narratives of the empire, by reimagining the Empire as fully German, it reject a Nationalist critique of the Empire.  For all its faults, the Empire isn’t oppressing ethnic groups yearning to be free, nor do any of its weaknesses come from diversity or lack of linguistic unity.  Though the Empire slogan is “Let Us Take Strength From our Diversity”  In a similar vein, Warhammer also unintentionally rejects the Clash of Civilization narrative, by the lack of an Ottoman presence.  While there is a fantasy Islamic empire (The Araby Caliphate) it is both Arabic and largely irrelevant to the events of the main story.  While the Empire does claim legitimacy by being the protectors of the true faith and the defenders of civilization, it’s rival are inhuman Daemons rather an exoticized oriental potentate. In fact while the empire considers itself the supreme cultural power, they do not seem particularly hostile towards any of their humans neighbours, nor do they have an enmity towards the Islamic inspired nations.

In fact the Empire’s relationship to religion is complicated.  Like most fantasy works, the state religion has the aesthetic, organization, and place in society as the Catholic Church, with grand cathedrals and hierarchy of priests, complete with its own Pope, the Grand Theogonist.  However the actual faith is polytheistic, with a pantheon of deities each of whom governs an aspect of reality. Its chief god used to be the wolf god Ulric, whose chosen Sigmar founded the empire, but  the Cult of Sigmar has since become the state sect of the Empire.  These gods exist in opposition to the Chaos Gods, whose Daemonic armies serve as the primary antagonists of the setting.   Each god has its own organized church, but all of them are ultimately lead by the Cult of Sigmar, whose main job seems to be the maintenance of the inquisition.  In Warhammer, the Inquisition, employs Witch Hunters and Templars in order to hunt down renegade spell casters and worshipers of Chaos, who purged via fire.  In the world of Warhammer, the world is under attack by the forces of Chaos, divine cosmic forces of destruction and corruption.  While they openly invade the empire from the north with their great Daemon armies, within the empire the lords of Chaos attempt to spread their influence through Chaos Cults.  Individuals join for magical power and pledge their souls to Daemon overlords, eventually twisting their minds and body into combinations, and are instructed to try to overthrow the empire.  The main obstacle to these cults are the inquisition, who can hunt down these secretive groups and destroy them through fire.   The game evokes the imagery of the inquisition and witch hunts, but in this fantastical setting, the actions of the church are largely justified as chaos cults are legitimately threaten the world.  In the universe of Warhammer, torture, mass execution and the constant repression of the citizenry is shown to be a justified necessary evil to prevent the empire from falling to chaos.  Since Chaos often spreads through the reading of forbidden tombs and hedonistic ‘pleasure cults”, sexual puritanism and limiting freedom of information are shown to be entirely justified.   Effectively Warhammer has created a world where the Inquisition isn’t not just necessarily but just in its actions, while doing most of the same activities as its real life counterpart.  

This approach towards religion is common in fantasy, likely do to wanting to mix the excitement of Greek mythology with the familiar structures of Catholicism, or simply because the norms of Christianity are so normal to the writers that they struggle to imagine religion differently.  For example, in Dungeons and Dragons, the pantheon of gods who exist within the world are clearly polytheistic in nature, however each god has a very Catholic inspired temple with an organized church hierarchy, using the imagery of christianity in a non Christian context.  With the Inquisition hunting down and destroying hidden heretics within the empire, the game’s trappings are mimicking that of the Protestant reformation, but the role of Protestants is being played by Chaos Cultists, and the Inquisition is actually hunting witches.  This means that the Empire losses much of its ideological nuances, one is left with the impression that faith in the empire is mostly a practical tool to battle Chaos, and the church is universally made up of corrupt hypocrites or zealous fanatics. 

The game makes a point of mocking the Holy Roman Empire for its needless complexity, but the society is reduced on every level, which makes it easier to simply dismiss.  This approach extends to almost all other aspects of the Empire, almost everything within it is defined in extremely broad strokes without much attention to detail.  The Empire has a strict class system, with an aristocracy characterized as decadent, selfish, and vain ruling over a mass of peasants who are shown as ignorant, superstitious and xenophobic.  The history is vast but sparse on details, and tends to fall into patterns, as periods of decline are ended when a warrior emperor drives back an external invader. This approach to world building is rather typical of most fantasy, as it generally hopes to work within broad archetypes rather than specific narratives.  

All this is only worth considering because the larger Warhammer franchise has come under much discussion regarding nationalist themes in its work, though mostly focusing on its far more popular 40k franchise.  The series enduring popularity with White Natioanlist and Trump supporters has been well documented, Trump’s official reddit page /thedonald regularly refers to “God Emperor Trump” a reference to 40k universe.   The 40k universe has been accused its embrace of militarism, authoritarianism and xenophobic narratives, expressed through its protagonists being the dictatorial human supremacist “Imperium of Man”.  Very little has been written about the original Warhammer Fantasy due to its relatively unpopularity compared to its spinoff, but it is worth considering from a nationalist narrative.  The Empire of Man’s embrace of German culture and folklore is telling, in particular a blond warrior unifying the forest tribes to create an Empire via war.  All of the good emperors are marshall, and the bad are defined as decedent and corrupt, with women confined to marginal roles.  The Inquisition is shown as a necessary evil and the empire has a primordialism attitude towards the tribes that make up its ranks.  A nationalist reading isn’t necessarily intentional, but it is possible, though not the traditional narratives associated with Central Europe.  Rather it is more likely some of the long standing conservative sentiments that have long been associated with the fantasy genre.  

First released in 1983, Warhammer is among the oldest and most popular fantasy properties in the gaming space, and it is one of the few fantasy franchises which plays a major part in changing the pop mersculture landscape rather than being fully insulated within the fantasy sub-culture.  Warhammer 40K is the most popular wargame in history and the label has more than 50 video game spinoffs, Warcraft famously was originally planned to be Warhammer game before they lost the license and made their own universe.  In fact most fantasy wargames owe their legacy in some way to Warhammer, which can be found in hobby shops across Europe and North America, though Games Workshop does not own the shops directly.   It is almost impossible to be within fantasy gamer culture without at least passible familiarity with the Warhammer franchise, and so to many people, Warhammer Fantasy is their first real introduction to the Holy Roman Empire, albeit in a bastardized fantasy form.  

In his influential 1936 essay, Beowulf: The Monsters and and the Critics, J.R.R. Tolkien lays out his understanding of the fantasy genre.  At the time, Beowulf was valued primarily as a historical work and not a literary, a trend Tolkien argued against, making the argument that fantasy should be appreciated as stories within their own context rather than simply reflections of our reality.  This approach is empathised in  Lord of the Rings, where the emotional stakes within the confines of the fantasy universe.  The reader hopes Frodo will succeed not because he represents something external to the story, but because we value the character and want what is best for him.   Tolkien, in his prelude to Fellowship of the Ring, famously said he despised allegory and didn’t wish his work to be read with real life parallels.  Most fantasy follows in Tolkien’s footsteps, Fantasy has long expected stories to be understood within their own context but that standard becomes confusing when real life elements are consciousnessly moved into the fantastical space.  So when Warhammer Fantasy features a society obviously inspired by the Holy Roman Empire, the audience is expected to engage with the empire within the framework of its world, our investment in its success depending on our investment with its characters and setting.  However we can’t ignore the fact that it is obviously inspired by a real life society, and that the game is unintentionally setting the groundwork for its players engagement with the historiography surrounding the empire.  And so, while it is clear that the designers didn’t have any intention to make a statement about the historiography, instead using the Empire to give their game a unique aesthetic and stand apart from other fantasy properties, Warhammer does unintentionally make a statement about history.  The stereotypes of the empire as incompetent and needlessly complicated, the view of history as largely static, that history is to be understood as mostly driven by great men, and that the decline of empires is inexorably tied to its embrace of luxury.  The game enforces the notion of the Nation-State as normal and the Empire as abnormal for departing from said model.  The game presents many institutions of the empire without contextualizing them, and doesn’t acknowledge the actual complexities of the real empire.  Ultimately while this is the only prominent fantasy work which asks the players to imagine things from the Empire’s perspective, it very much enforces many of the same stereotypes that Habsburg historians have been trying to escape from, while also endorsing many false views of history itself.  The games understanding of history is just close enough to reality that the uninformed player might take it as fact, without realizing just how essentialist Warhammer fantasy actually is.  Much more attention needs to be paid to how history is understood via fantasy, because many people get their knowledge and interest in history from fantasy, and many concepts long since debunked in history, continue to live on in fantasy uninterrupted.  

Sources 

Ragan, Anthony, Warhammer Fantasy Roleplay, Heirs of Sigmar: A Guide to the Empire, Fantasy Flight Games, Green Ronin Publishing, 2005

Pramas, Chris, Warhammer Fantasy Core Rulebook, A Grim World of Perilous Adventure, Fantasy Flight Games, Green Ronin Publishing, 2005

Schwalb, Robert J, Warhammer Fantasy Roleplay, Tome of Salvation: Priests of the Old World, Fantasy Flight Gaming, Green Ronin Publishing, 2007

Straufer, Marijan von, Warhammer Fantasy Roleplay, Realms of Sorcery, black Industries, Fantasy Flight Games, Black Industries Publishing, 2005

Schwalb, Robert J, Warhammer Fantasy Roleplay, Tome of Corruption: Secrets from the Realm of Chaos, Fantasy Flight Games, Black Industries Publishing 2006

Chart, David, Warhammer Fantasy Roleplay, Knights of the Grail: A guide to Bretonnia, Fantasy Flight Games, Black Industries, Green Ronin Publishing, 2006

Cruddace, Robin, Warhammer Armies: The Empire (8th Edition), Games Workshop Publishing, 2010

McNeill, Graham, Warhammer Armies: The Empire (7th Edition), Games Workshop Publishing, 2007

Cavatore, Alessio, Warhammer Armies: The Empire (6th Edition), Games worship Publishing, 2000

Tolkien, J.R.R, Beowulf: The Monsters and the Critics, London: George Allen and Unwin, 1936

Tolkien, J.R.R., Lord of the Rings: The Fellowship of the Ring, Del Rey, Reissue edition, 1986

[shesillmatic]

21 Day Flat Belly Fix Review

The vast majority of us are not content with the manner in which our bodies look. A few of us could’ve finished with a superior hairline, more extensive shoulders, more full lips or something different. Nonetheless, one issue that appears to join a greater number of individuals than everything else is the enormous paunch. Consider it a brew midsection or a major belly, no measure of charm can shroud how hopeless an all-encompassing gut can feel. When you cross the limit at 40, things deteriorate. At this age your body is scarcely helpful and losing obstinate fat can be an assignment all in itself.

There is no lack of items in the market that guarantee to enable you to dispose of this abundance gut fat. Directly from wholesome enhancements, fat impacting pills, practice gear and dinner substitution shakes; there is no lack of projects targeting losing paunch fat. In any case, do they work?

For a major piece of the populace, losing gut fat after their late thirties is a tough undertaking. Most likely, losing paunch fat at any age can be a test. However, when you cross the edge of your mid-thirties, fat cells will in general aggregate in the hip, gut and thigh district and this gathered fat will in general be hard to dispose of without strenuous exercise systems and all out way of life upgrades.

Conventional weight reduction counsel has some legitimacy to it, yet with a wide range of exhortation being tossed at us from an assortment of sources, picking one that works can be monotonous. Practicing consistently has a large group of advantages to offer however it may not be sufficient to dispose of obstinate midsection fat in individuals beyond forty years old. In any case, I as of late had an extremely fascinating knowledge with the Flat Belly Fix that has helped me with my very own gut fat misfortune venture.

As a forty-multi year old working mother of two, I ended up putting on weight with the joined weights of a requesting vocation, keeping up a family unit and managing ordinary pressure. I have given numerous projects and regimens a go with the sole point of getting more fit absent much achievement. Be that as it may, when I gave Flat Belly Fix a shot, things were extraordinary. In this article I will share my experience and audit of the program.

The Flat Belly Fix Review: The Program’s Principles

Not at all like customary eating regimen or health improvement plans that target observing each part of your eating regimen and exercise system, Flat Belly Fix targets sharing learning and data to help you naturally comprehend weight reduction standards. This program isn’t about what to eat or what not to eat. It isn’t about what activities you ought to do or the amount you should sweat either. This was significant for me as an individual who preferences having inventive opportunity in all parts of my life.

Many health improvement plans offer you enough data to lose some weight. In any case, you’re never so educated that you can roll out enduring improvements and keep keeping up weight reduction results. On account of Flat Belly Fix, things are altogether different. There are two primary standards to the program: Hunger and Appetite and the Energy Shift System.

In Hunger and Appetite, the rule centers around comprehension the anxious and endocrine framework and their job in enduring weight reduction. The Energy Shift System targets instructing your body to move from consuming sugar to consuming aggregated fat as its vitality fuel. Together, these standards center around showing you how to economically keep up the 80% eating routine and 20% exercise way of life for a fitter body and life. Sustainable weight reduction requires this equalization. Level Belly Fix basically causes you realize what this equalization resembles for you.

What is Included in the Flat Belly Fix Program?

Not at all like numerous customary health improvement plans, Flat Belly Fix has a three-pronged methodology that I especially enjoyed. Aside from giving you wholesome data just as exercise guidelines, the program likewise comes furnished with a smoothie formula direct.

To see how this item causes you, we should separate the different pieces of the program and comprehend the advantages.

The 21 Day System: This is an intriguing perused accessible in a downloadable PDF digital book arrangement and encourages you comprehend everything identified with wellbeing, nourishment, wellness and eating designs. By covering subjects, for example, human life systems, the correct eating timetable to keep up weight reduction, triglycerides, serving sizes and extents, insulin and so forth., you’ll have all the data you have to proceed with weight reduction and upkeep.

For me, the most significant piece of data was discovering that eating at the opportune time could assist me with my weight reduction objectives. All through my twenties and even in my thirties, I used to be a normal 12 PM eater. Crunching on bites (in spite of the fact that they were solid ones) at odd hours of the day was presumably hampering my weight reduction endeavors in a greater number of ways than one. Notwithstanding the Flat Belly Fix program, I wouldn’t have ever known!

The 7-Minute Flat Belly Protocol: 7 minutes is scarcely anything on the off chance that you truly sit and consider it. In our 24 hour taxing day, this short measure of time may appear to be immaterial. In any case, the activities found in this piece of the program will truly cause you to reexamine the significance of seven minutes. The activities incorporate framework pressure developments, fiber enactment and isometric hold among others. There are seven exercise conventions incorporated into this, one for every day of the week. While you may think about whether short seven moment exercise are sufficient to do much, let me guarantee you that you’ll feel the consume!

The activity recordings are planned so that they focus on the stomach territory. The activities and developments that make a piece of this convention depend on developments that cops, fighters, military individuals and SWAT groups utilization of an everyday schedule for obstruction and quality preparing. While this can sound threatening from the outset, I guarantee you it isn’t.

As somebody who hasn’t generally practiced in numerous years, I like that the Protocol accompanied photographs just as point by point guidelines. I didn’t need to ponder about anything. Everything from appropriately executing my developments to the span of the developments, quantities of reps just as rest period details were incorporated. It was genuinely simple to track.

Smoothie Recipe Guide: Most weight control plans don’t represent taste and the satiety that accompanies eating scrumptious sustenances. In any case, I for one found that the Flat Belly Fix Smoothie Recipe Guide guarantees this doesn’t occur. As opposed to instructing you to concentrate on removing heaps of sustenances, this guide gives you a far reaching rundown of yummy plans to devour.

I’m a self-claimed foodie and I truly appreciate eating new produce and nearby organic products. With smoothies made of fixings like wild berries, coconut, almond milk, nuts, avocado and vanilla separated from different natural products, I completely appreciated eating during this program. The plans for the smoothies do incorporate a few fixings like coconut milk yogurt and kefir which were somewhat hard to discover, however not feasible either. With some earlier arranging, even this part of the program was simple.

What’s Different about Flat Belly Fix?

The establishment of Flat Belly Fix’s one of a kind way to deal with weight reduction stems for an antiquated arrangement of eating. By picking old fixings and sustenances in their most regular state, it is conceivable to keep up ideal degrees of solidarity and prosperity. Basic fixings that can be found in your supermarket are adequate. The main test (on the off chance that it can even be called that) is figuring out how to join these sustenances into your eating regimen. Additionally, since the going with writing discloses to you the careful advantages of these fixings and how they will support you, rolling out certain improvements won’t be troublesome.

The special video that is on the Flat Belly Fix site guarantees that clients are certain to appreciate quick weight reduction with no symptoms as a piece of this program. They likewise guarantee that this program can help in diminishing or switching Type II Diabetes by empowering your body to consume fat for fuel rather than sugar. Different cases incorporate diminished danger of creating heart illnesses, boosting thyroid capacity, improving mental clearness and disposition, better focus, smoother skin and by and large sentiment of energy.

About Todd Lamb

The creator and maker of Flat Belly Fix, Todd Lamb, is a previous SWAT part. He is additionally a veteran police offer with more than 17 years of experience separated from being a guaranteed Canine handler and having military experience. Dissimilar to some wellbeing masters who are famous due to their syndicated programs or recordings, Todd Lamb is an individual with serious preparing to keep up ideal degrees of wellness. He has additionally created numerous wellness books. Sponsored by genuine experience and hands-on preparing, his data sources and the data he offers have helped many.

Todd started making this program after his significant other, a cop, was associated with a fender bender and in the recuperation time frame she started putting on weight. With an expect to enable her to shed pounds, he unearthed a viable framework that could enable numerous others to get thinner and keep it off.

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Film An Introduction - William H. Phillips - Page 11-59 - Chapter 1: Mise en scène

Phillips explains the importance of mise en scène in the realm of film by stating that it can be ‘so expressive’ that sometimes ‘only a few selected images can convey a good deal of a film’s story, moods, and meanings’. Major scenes may convey as much of the story, the character’s themselves, and the themes of the narrative using only visuals. This may undermine the power of the film score which is rarely absent in such moments. Sound adds and often spurs on the impact visuals may have.

Philllps considers the components of the mise en scène as the settings, the subjects being filmed, the composition, and the lighting.

Settings

This is ‘the place where filmed action occurs’. The setting can either be a ‘constructed place’, built specifically for filming, or it may be ‘on location’, a real place. The use of settings in films can have a ‘tremendous impact’ on viewer’s experience, and can often suggest a time period, and location, or it may ‘enhance style, character, mood, and meaning’.

Types of settings

Although some settings may be built in a studio, some, and this is often the case in science fiction films of recent years, may be built digitally and then transferred to film. Typically, films are ‘shot’ on a set or on location, and sometimes a film may ‘combine shots’ on a set with those made on location.

Phillips also remarks that a setting may be the ‘main subject’ of a scene, however similarly, at the opposite end, the setting may ‘draw no attention to itself’. In these cases, the setting my be blank ‘(limbo)’ or ‘out of focus’.

‘Realistic settings’ are another type of setting, in which the setting is built to ‘convince’ the viewer that they are looking at a real place, that the setting could exist. This helps the viewer get caught up in the ‘world and action of the film’. ‘Non-realistic settings’ are built settings that are intentionally built to not look realistic, by exaggerating or by lacking the ‘right details to convince audiences’. For example, non-realistic settings may include ‘unexpected colors’ which, Phillips suggests, may be enjoyed for their ‘creativity and whimsy’. Non-realistic settings can also convey a character’s state of mind.

Different films require different settings to establish themes and characters, however, in films where the budget is tight, non-realistic settings are more common as they may be ‘cheaper’ and ‘faster to construct’ than the detailed realistic ones.

Functions of Settings

Phillips states that above all ‘settings indicate place and time’. The film may shift to a new location and may not need to state so as the real life locations, their architecture, the people, the fashion/costumes, the plants, and geographical marks will all state this. One scene that takes place in a snow blizzard, that follows a scene that takes place in sweltering jungle, suggests a change in location, possibly a change in time. The type of cars, or technology, the fashion again, can also suggest the time period, whether it be modern day, the past, or the future. Phillips also points out that the audience ‘scarcely needs the soundtrack to reveal that the action shifts’ to a new setting. Settings establish themselves and stand a part from one another

Phillips uses the example of films set in space as he states that filmmakers may ‘dwell’ on the settings, which may not advance the narrative, but will ‘stress the beauty, wonder, and vastness of nature’.

‘Loose framing’ is when a shot ‘presents the main subject with abundant space around it’.

‘Tight framing’ is when there is ‘little space around the subject’ and this leads to settings conveying a sense of ‘confinement and stress’. Phillips comments that this type of framing may be used until someone ‘abruptly intrudes into the image’ - this is more common in horror or thriller films, and is often seen as a ‘technique to frighten a character and viewers’ but then immediately establish itself as not a threat.

Settings can also be used to establish what a ‘character is like’ or to ‘create or to intensify moods’. A setting that takes place in a damaged or desolate landscape, can imply an unhealthy mindset of the character. ‘The land itself looks ready to give up’, as Phillips writes of an example. Settings can be symbolic. How character’s interact with the setting or influence/alter the setting can also be an indicator of a character’s abilities, personality, mood, etc...

‘Where characters live, or work, which objects surround them, and how they arrange those objects ca also tell us much about the characters’. The initial setting may represent a character in their mood or state of mind, it may serve meaning.

Settings throughout a film can be used to ‘mirror changes in situation and moods’.

Subjects

Subjects are ‘crucial’ in understanding the ‘expressiveness’ of mise en scène. The subjects in fictional films are usually the characters.

Action, Reaction, and Appearance

Phillips states that viewers learn about the subjects by ‘observing their actions’, what the characters are doing at a given moment. If a character is seen at a typewriter, the audience infers that the character is perhaps a novelist. Viewers can also ‘learn volumes’ through a character’s ‘facial reactions’.

‘Reacting . . . I think is the essence of acting. And just tiny things can fleet across his face and say a lot more than probably pages of dialogue.’ (Jim Jarmusch)

Phillips remarks that ‘actions and reactions are the usual means of revealing characterization’ which he ponders whether this is because films can ‘single out’ actions and reactions as films can put focus on them, they can show an action in a memorable way. The audience does not need to be told what qualities a character may have, their personality, what they are capable of, what they are not capable of. All of this can be understood through the action or reaction of a character, all of this can be shown through film, rather than told.

Moreover, a character can be understood through their possessions. This may come under a category of props. Phillips notes that vehicles are a common way to show a characterisation: ‘station wagons for family members, sports cars for independent singles, VWs for the unassuming, and Volvos for the cautious and middle-aged’. In some instances, the choice of vehicle may ‘surprise or amuse audiences’.

Moreover, the audience can infer a lot from the character by their physical characteristics. For example, ‘posture, gesture, clothing, makeup and hairstyle’. In instances where there are many main characters, costuming, posture etc... can be used to ‘individualize’ them. Moreover, clothing can be used to ‘show’ or ‘reinforce’ an aspect of a character.

In this sense, the appearance of a character may serve to ‘heighten the contrast’ between two opposing figures. It may hide a character’s identity, or represent the character at different ages, or in a changed situation. Costumes are often used to ‘help show a place and time’ but it can also convey a character’s ‘status and power’.

Phillips remarks that appearance can be ‘so expressive’ that it can sometimes convey ‘the essence of a story’. In Crimson Peak the audience watches as Edith’s bright yellow clothing becomes subdued as the film progresses, suggesting her depression, the effect of her husband and his sister trapping her within the decaying property, and the poison she is drinking that is draining the life from her.

Phillips also states how appearance can not only reveal a character, but create a character.

Costumes serve as indicators of gender and social status, but they also shape bodies and behavior. “[We] may make them take the mould of arm or breast,” Virginia Woolf wrote in Orlando, “but they mould our hearts, our brains, our tongues to their liking.” . . . Who shall say how much the lumbering work of Frankenstein’s monster was created by [Boris] Karloff and how much by a pair of weighted boots? We even have Chaplin’s word that the Tramp grew out of the costume, not vice versa: “I had no idea of the character. But the moment I was dressed, the clothes and make-up made me feel the person he was.” (88-89)

Character and Acting

‘Characters are imaginary personages in a fictional story’ writes Phillips. Characters are often based on real life people, or at least, partly based, carrying several traits of a person. However, characters (typically those of action films) are completely imaginary. Therefore, a character’s action and language, their ‘thoughts, dreams, and fantasies’ are the ways in which the audience can understand them.

‘Round characters’ are ‘complex, lifelike, multidimensional, sometimes surprising, and changeable’. These are the most important characters of the story.

‘Flat characters’ are ‘simple (stereotypical or minor), one-dimensional, and unchanging’. These characters typically play the minor roles of a story. They appear in few scenes, and rarely have an affect on the most significant parts of a story.

Narrative films will typically only have a few round characters as film only has time to develop few characters in depth. According to Phillips, most viewers find it too ‘confusing’ to keep track of ‘more than a few major characters’.

Types of Actors

Far from the movies not being an actor’s medium, there’s probably been no other artistic medium in this [twentieth] century whose appeal rests so strongly on the human presence, and in which the human image has occupied a place of such primary and centrality (Pechter 69)

Actors may adopt a style of acting, which critics and film theorists have divided into four groups: stars, Method actors, character actors, and nonprofessional actors.

Film stars are common in the cinema of the United States, as well as in other countries such as France and India. These actors will typically play the major role in a film, or at least a major role. Particular film stars, Phillips uses Arnold Schwarzenegger as an example, will usually be cast to play a ‘very narrow range of characters’ but they often ‘generate widespread interest’, ‘command enormous salaries’, and will often ‘guarantee a large box office’ both in the United States and internationally.

Stardom seems more a state of being than a learned skill . . . For a performer like Stallone . . . the ability to convey very subtle shades of emotion, to enter personalities foreign to him, is essentially irrelevant. His skill is that of existing intensely on screen, of communicating his uniqueness and inviting audiences to enjoy it and identify with it (Kehr)

‘Stardom’ or star power, can come with a lot of ‘prestige’ and ‘power’. An actor who has reached this level can make demands of their own, altering the film’s direction, and can even have their own influence on the script; whether they demand it themselves or the script is written with them in mind.

Method actors will attempt to ‘figure out’ the mind of the character they are portraying before filming starts. An infamous example of method acting is Dustin Hoffman staying awake for three days before filming a scene in which his character has also been awake for three days.

Method actors will aim to ‘become the character’ and may use people they know from their own lives as a blueprint for their portrayal, or they may remember situations, interactions with a person, and adapt their quirks, temperaments, or personality into their work. Actors may also change their physical appearance, sometimes drastically, to look and feel the part. 

Character actors will ‘specialize’ in the ‘same type of secondary role’. These actors will portray a similar type of character with each role they play.

Nonprofessional actors are people with no training or experience in the profession. Some directors may purposely hire local people to achieve a particular mood or effect to the film, or perhaps to state an ideology. Moreover, it may take pressure off the film as audiences will not be distracted by the lives or actions of the actors outside the film.

However, in some cases, directors have no choice but to use nonprofessional actors. This is usually the case in countries with widespread poverty where trained actors are ‘not available’ - either because the film has no budget or none are available locally. 

Sometimes nonprofessional actors can be ‘so awkward’ and ‘self-conscious’ that they are distracting, ‘even unintentionally laughable’. However some directors can get an effective performance from nonprofessionals.

A ‘cameo’ is a ‘small part’ played by famous actors, or other famous people. The director may play a small part in the film, for example M. Night Shyamalan and Alfred Hitchcock would often play a small part in their films. This can become a ‘type of cinematic insider’s joke’ and are regarded by Phillips as ‘little unexpected treats’ for the audience. A cameo may contribute very little to the narrative of the film but are there to be playful or enjoyable.

Process and Performance

Improvisation is a technique favoured by some directors and actors. Actors are able to say or do something ‘spontaneously’ in the middle of the take within the circumstances the character is in. The idea is that the improvisation performed by an actor ‘immersed’ in the character and scene is ‘likely to be truer’ to the character and situation that what has been imagined by the writer.

Phillips explains that an actor’s ‘best allies’ are a skillful scriptwriter, a director who is able to effectively set the context and mood of each shot, and an editor who selects the best take, or shortens an ineffective shot, or tidies up the performance through professional cutting. In this way, the director, writer, and editor, ‘may strongly shape a performance’.

An effective performance can ‘persuade’ audiences that the character is ‘believable’. This keeps viewers involved in the story. However, Phillips reminds that there is no performance that is always completely effective. The believability of a performance is dependent on the ‘film’s style’ and ‘to some extent on the viewer’s culture’. Some films work best when the acting is ‘restrained’, whereas others require a performance that is ‘exaggerated’. Phillips expresses that acting should not be judged by ‘one absolute standard’ but ‘in light of the kind of film it is in’.

Phillips also explains that acting is perceived to be an ‘invisible art’, therefore making it difficult to judge. 

Composition: The uses of space

Composition is what Phillips refers to as ‘the final major aspect of mise en scène’. While mise en scène refers to what is in the frame, composition is how these items are arranged - how lighting and subjects are ‘arranged in relation’ to each other and ‘to the sides of the frame’.

When composing the image, Phillips offers the following questions that filmmakers may ask themselves;

What shape should the image be?

When should empty space be used?

Should the arrangement of subjects on the sides of the frame or in the foreground and background be used to convey or reinforce a meaning or mood?

Should the width and depth of the image be used expressively within the same shot?

Should the objects of main interest within the frame balance each other or not?

Shape of the Projected Image

The aspect ratio ‘indicates the shape of the image’ - specifically the relationships of the image’s width to its height. The standard aspect ratio 4:3 means that the imager is wider than it is tall by a ‘factor’ of 4:3. Historically, the projected image has always been wider than it is tall, with the standard aspect ratio being used primarily between 1910 to the early 1950′s when wider aspect ratios began to be popularised. 

Frequently used aspect ratios:

1.33:1 or 4:3 - standard aspect ratio

1.66:1 - aspect ratio used for most European theatrical showings

1.85:1 - aspect ratio used for most US theatrical showings (since the 1960s)

2.4:1 - aspect ratio of current anamorphic (wide-screen) showings

2.75:1 - aspect ratio of Ultra-Panavision 70

It is possible for the aspect ratio to be changed during the film, widening or shortening the projected image for specific meanings. One way this can be done is through the ‘iris shot’ in which parts of the image are ‘obscured by a process called masking’. This results in a geometric shape, usually a circle, capturing the image while surrounded by a particular colour, usually black. Sometimes part of the projected image may be ‘illuminated’ while obscuring other parts. These techniques help in directing the viewer’s attention ‘to the visible subject’.

Empty Space

Phillips states that empty space is used to ‘convey a sense of loss’ in the film’s narrative. However, he also reminds that empty space, ‘like everything else in a film’, has ‘no inherent meaning’. Thus, the meaning is applied by the context. He offers that empty space may suggest loss, but it can also have positive connotations, such as ‘power’ and ‘freedom’. Empty space can also be used to the advantages of thriller films - as Phillips states 

If we see largely empty space in a shot followed by something intruding abruptly, the results can be startling.

A character or an action may ‘burst’ into a character’s space, but also into the viewer’s.

Taking Sides

Another way to use the width of the image is ‘expressively’. Two characters shown on opposite sides of the frame ‘suggest their alienation from each other’.  It may also suggest two opposing forces, a challenging stance inferring their opposing beliefs.

Sometimes filmmakers may use ‘split-screen techniques’ to show more than one image at the same time. This has the implication that the events shown are happening ‘at the same time’. However, it can also contribute to the suspense of a film, or highlight the ‘characters’ similarities’. 

Split-screens can also be used to reveal an action and the multiple reactions of characters. Another way filmmakers can achieve this without split-screens is through reflections. A character may look at the reflective surface, and the audience is able to see what or who they are looking at as well as their reaction to what they’re seeing as in this scene from Death Becomes Her (1992) in which the maid enters the room of Madeline Ashton (Meryl Streep). It appears as though the maid is behind Madeline but it is revealed later in the scene that the audience was watching the maid through the mirror behind Madeline’s bed.

By using the reflective surface, filmmakers are able to ‘maintain’ continuity of action, time, and space rather than ‘divide the information’ into multiple shots. In this way, Phillips states that the filmmakers ‘choose to communicate the information by the composition of a single shot’ rather than by the editing.

Foreground and Background

How actors are arranged in the background and foreground are ‘opinions that influence what the images communicate’. An action in the background may go unnoticed because ‘its obscurely lit’ or ‘out of focus’ or because the foreground draws the viewer’s attention. However, sometimes a dangerous character lurking in the background or an out of focus action can become the focus of the viewer’s rather than what is happening in the foreground. This being a case for another scene in Death Becomes Her in which Ernest (Bruce Willis) calls Helen (Goldie Hawn) to announce the death of Madeline. In this shot, Ernest is centred as his actions are the most important, and Madeline’s twisted corpse lies in the background out of focus. As the scene moves forward, so does the camera, closing in assumably on Ernest, but is really pushing him to the side of the frame as the real focus become the blurred Madeline who suddenly begins to twist her body behind Ernest. The actions of the camera are initially unnoticeable as the audience waits to see what will happen next. The eye is being directed to Madeline without the audience being fully aware of it.

Sometimes, as Phillips suggests, the background may influence how viewers respond to something in the foreground, or vice versa.

Another way to direct viewer’s attention is by using ‘rack focus’ which allows filmmakers to change the focus ‘during’ a shot ‘(usually rapidly)’ between the foreground and background. This seamlessly shifts viewer’s attention from the actions in the background to what is happening in the foreground. Phillips suggests this typically happens during ‘a dramatic moment’ or ‘while the primary subject of the shot is moving’ or both. The viewer is not meant to notice this change.

Using reflective surfaces or rack focus is an ‘alternative’ to editing and ‘maintains continuity of action, space, and time’. 

The way elements in a shot are arranged can imply the importance of an object or person to someone in the foreground. Other times, the audience may witness something important in the background that the subject in the foreground is unaware of.

Moreover, action in the background may compete for attention with the action in the foreground. Phillips states how filmmakers may film ‘through’ an object with the background capturing the audience’s attention and the foreground typically being ignored - how the object in the foreground that is being filmed through relates to what is happening in the background may go ignored by casual movie-goers. The typical implications of this method is that the character in the background is suffering from ‘entrapment or imprisonment’.

Sometimes both the width and depth of a shot are used ‘expressively’. 

Symmetrical and Asymmetrical Compositions

In a symmetrical composition with only ‘one major subject’, the subject is seen in the ‘approximate center of the frame’. In symmetrical compositions with two subjects, ‘typically both are on opposite sides of the frame’ or they may be near the centre. An image with many subjects can be ‘symmetrical’.

In asymmetrical compositions, the shot may not be balanced. This can suggest the character (if the shot happens to only include one subject) is unbalanced.  Phillips suggests that a films may asymmetrical compositions ‘more than occasionally’.

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21 Day Flat Belly Fix Review

The vast majority of us are not content with the manner in which our bodies look. A few of us could've finished with a superior hairline, more extensive shoulders, more full lips or something different. Nonetheless, one issue that appears to join a greater number of individuals than everything else is the enormous paunch. Consider it a brew midsection or a major belly, no measure of charm can shroud how hopeless an all-encompassing gut can feel. When you cross the limit at 40, things deteriorate. At this age your body is scarcely helpful and losing obstinate fat can be an assignment all in itself.

There is no lack of items in the market that guarantee to enable you to dispose of this abundance gut fat. Directly from wholesome enhancements, fat impacting pills, practice gear and dinner substitution shakes; there is no lack of projects targeting losing paunch fat. In any case, do they work?

For a major piece of the populace, losing gut fat after their late thirties is a tough undertaking. Most likely, losing paunch fat at any age can be a test. However, when you cross the edge of your mid-thirties, fat cells will in general aggregate in the hip, gut and thigh district and this gathered fat will in general be hard to dispose of without strenuous exercise systems and all out way of life upgrades.

Conventional weight reduction counsel has some legitimacy to it, yet with a wide range of exhortation being tossed at us from an assortment of sources, picking one that works can be monotonous. Practicing consistently has a large group of advantages to offer however it may not be sufficient to dispose of obstinate midsection fat in individuals beyond forty years old. In any case, I as of late had an extremely fascinating knowledge with the Flat Belly Fix that has helped me with my very own gut fat misfortune venture.

As a forty-multi year old working mother of two, I ended up putting on weight with the joined weights of a requesting vocation, keeping up a family unit and managing ordinary pressure. I have given numerous projects and regimens a go with the sole point of getting more fit absent much achievement. Be that as it may, when I gave Flat Belly Fix a shot, things were extraordinary. In this article I will share my experience and audit of the program.

The Flat Belly Fix Review: The Program's Principles

Not at all like customary eating regimen or health improvement plans that target observing each part of your eating regimen and exercise system, Flat Belly Fix targets sharing learning and data to help you naturally comprehend weight reduction standards. This program isn't about what to eat or what not to eat. It isn't about what activities you ought to do or the amount you should sweat either. This was significant for me as an individual who preferences having inventive opportunity in all parts of my life.

Many health improvement plans offer you enough data to lose some weight. In any case, you're never so educated that you can roll out enduring improvements and keep keeping up weight reduction results. On account of Flat Belly Fix, things are altogether different. There are two primary standards to the program: Hunger and Appetite and the Energy Shift System.

In Hunger and Appetite, the rule centers around comprehension the anxious and endocrine framework and their job in enduring weight reduction. The Energy Shift System targets instructing your body to move from consuming sugar to consuming aggregated fat as its vitality fuel. Together, these standards center around showing you how to economically keep up the 80% eating routine and 20% exercise way of life for a fitter body and life. Sustainable weight reduction requires this equalization. Level Belly Fix basically causes you realize what this equalization resembles for you.

What is Included in the Flat Belly Fix Program?

Not at all like numerous customary health improvement plans, Flat Belly Fix has a three-pronged methodology that I especially enjoyed. Aside from giving you wholesome data just as exercise guidelines, the program likewise comes furnished with a smoothie formula direct.

To see how this item causes you, we should separate the different pieces of the program and comprehend the advantages.

The 21 Day System: This is an intriguing perused accessible in a downloadable PDF digital book arrangement and encourages you comprehend everything identified with wellbeing, nourishment, wellness and eating designs. By covering subjects, for example, human life systems, the correct eating timetable to keep up weight reduction, triglycerides, serving sizes and extents, insulin and so forth., you'll have all the data you have to proceed with weight reduction and upkeep.

For me, the most significant piece of data was discovering that eating at the opportune time could assist me with my weight reduction objectives. All through my twenties and even in my thirties, I used to be a normal 12 PM eater. Crunching on bites (in spite of the fact that they were solid ones) at odd hours of the day was presumably hampering my weight reduction endeavors in a greater number of ways than one. Notwithstanding the Flat Belly Fix program, I wouldn't have ever known!

The 7-Minute Flat Belly Protocol: 7 minutes is scarcely anything on the off chance that you truly sit and consider it. In our 24 hour taxing day, this short measure of time may appear to be immaterial. In any case, the activities found in this piece of the program will truly cause you to reexamine the significance of seven minutes. The activities incorporate framework pressure developments, fiber enactment and isometric hold among others. There are seven exercise conventions incorporated into this, one for every day of the week. While you may think about whether short seven moment exercise are sufficient to do much, let me guarantee you that you'll feel the consume!

The activity recordings are planned so that they focus on the stomach territory. The activities and developments that make a piece of this convention depend on developments that cops, fighters, military individuals and SWAT groups utilization of an everyday schedule for obstruction and quality preparing. While this can sound threatening from the outset, I guarantee you it isn't.

As somebody who hasn't generally practiced in numerous years, I like that the Protocol accompanied photographs just as point by point guidelines. I didn't need to ponder about anything. Everything from appropriately executing my developments to the span of the developments, quantities of reps just as rest period details were incorporated. It was genuinely simple to track.

Smoothie Recipe Guide: Most weight control plans don't represent taste and the satiety that accompanies eating scrumptious sustenances. In any case, I for one found that the Flat Belly Fix Smoothie Recipe Guide guarantees this doesn't occur. As opposed to instructing you to concentrate on removing heaps of sustenances, this guide gives you a far reaching rundown of yummy plans to devour.

I'm a self-claimed foodie and I truly appreciate eating new produce and nearby organic products. With smoothies made of fixings like wild berries, coconut, almond milk, nuts, avocado and vanilla separated from different natural products, I completely appreciated eating during this program. The plans for the smoothies do incorporate a few fixings like coconut milk yogurt and kefir which were somewhat hard to discover, however not feasible either. With some earlier arranging, even this part of the program was simple.

What's Different about Flat Belly Fix?

The establishment of Flat Belly Fix's one of a kind way to deal with weight reduction stems for an antiquated arrangement of eating. By picking old fixings and sustenances in their most regular state, it is conceivable to keep up ideal degrees of solidarity and prosperity. Basic fixings that can be found in your supermarket are adequate. The main test (on the off chance that it can even be called that) is figuring out how to join these sustenances into your eating regimen. Additionally, since the going with writing discloses to you the careful advantages of these fixings and how they will support you, rolling out certain improvements won't be troublesome.

The special video that is on the Flat Belly Fix site guarantees that clients are certain to appreciate quick weight reduction with no symptoms as a piece of this program. They likewise guarantee that this program can help in diminishing or switching Type II Diabetes by empowering your body to consume fat for fuel rather than sugar. Different cases incorporate diminished danger of creating heart illnesses, boosting thyroid capacity, improving mental clearness and disposition, better focus, smoother skin and by and large sentiment of energy.

About Todd Lamb

The creator and maker of Flat Belly Fix, Todd Lamb, is a previous SWAT part. He is additionally a veteran police offer with more than 17 years of experience separated from being a guaranteed Canine handler and having military experience. Dissimilar to some wellbeing masters who are famous due to their syndicated programs or recordings, Todd Lamb is an individual with serious preparing to keep up ideal degrees of wellness. He has additionally created numerous wellness books. Sponsored by genuine experience and hands-on preparing, his data sources and the data he offers have helped many.

Todd started making this program after his significant other, a cop, was associated with a fender bender and in the recuperation time frame she started putting on weight. With an expect to enable her to shed pounds, he unearthed a viable framework that could enable numerous others to get thinner and keep it off.

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Review - The Legend of Zelda: Breath of the Wild

I never cared much for Zelda. My gaming life began with the likes of Unreal and Quake, later exploring the more intriguing worlds of Morrowind and Final Fantasy X. I was late to the nostalgic craze of Mario, Metroid, Pokemon and the likes of Zelda itself, though my brother would always gush about them as the years went on, while I delved into the Elder Scrolls and Assassin’s Creed franchises as my typical “favorite games” listing. Yet on a fateful evening outing with the family, I found myself with a brief demo of Breath of the Wild. Having a controller in my hand for the first time in probably a decade, I fell in love with the brief ten minutes I had with Link and his new world. It became an immediate Christmas wish, which was immediately fulfilled by my family within weeks of this request. My family was very excited that I wanted to try a Zelda game at all. So let’s get to it.

Link immediately awakes as much of a blank slate as I am, with nothing but amnesia and a female voice (quickly revealed to be Zelda herself) to guide him. We’re given something called a Sheikah Slate which looks like the lore’s own version of a Switch or iPad, and it basically serves as the game’s major MacGuffin that powers most of your abilities, map systems, and everything else. Apparently it’s an important device, as every major character and city leader immediately recognize it. From what I can understand in context, the device was in the possession of a team of champions that apparently died a hundred years prior. They fought against “Calamity Ganon”, the game’s major antagonist. You’re shown the castle off in the distance, but in the beginning Link is stuck on a massive plateau, and you need a wind glider to make it off alive. The old man helping you trades one after you learn the game’s four basic abilities, and the whole plateau serves as the tutorial. We get a stasis ability (for locking objects in a time field, of which you can manipulate its momentum), two different bomb types (one that rolls and a square for better control depending on terrain), a cryogenic that allows you to create ice blocks over water (which I often use to cross rivers) and a magnet (which does exactly what you’d expect it to). Other than the open world Dark Souls-esque combat, they serve as the game’s primary mechanics and they’ll each be used to solve every puzzle and find every chest throughout the game.  Sadly the game neglects to teach you how to cook, and I had to resort to google for that. Seems like it’s an oversight, but it’s one of the more fun mechanics, throwing a bunch of your gatherings in a pot to eventually see what might happen. It encourages experimentation which I enjoy, but if all else fails, throwing five durians or bananas in a pot will go a long way in of itself. The world opens up very quickly, as is usually advertised and mentioned in reviews. You can, in theory, immediately haul towards Calamity Ganon itself if you’re sneaky enough. I’m sure some YouTubers have already cleared it (quick research tells me it can be done in around 40-50 minutes), but more casual players would likely be crushed instantly. Instead you’re given several tasks, such as taming four Divine Beasts, massive mechanical creatures that roam Hyrule. They’re currently controlled by Ganon but you can retake them and they’ll all help during the final fight.

Beyond that, the world is ours. I admit I was feeling a bit dry of this genre after having around a thousand hours on Skyrim and a few hundred on the various Fallout’s, it’s a literal breath of fresh air as I found myself with a very simple goal: nab all the towers. In typical fashion more expected from the likes of Ubisoft, there are several towers to climb that unlock the maps of entire regions. I don’t mind this so much as it helps me get the lay of the land as well as a clear goal on the outset. I’d be very lost without them.

I have never been used to Zelda’s style of gaming but I have taken full advantage of the tools the game has given me. Chief of which being the open world itself. A vast majority of my gameplay has mostly been collecting different armor sets so that I can better face a variety of situations and weather conditions, and there’s a ton of gameplay to be had with that goal alone. In the first town that you are directed towards, there was a fairly expensive (for a starting player) stealth suit. I farmed some enemies which helped a lot in learning how to use a controller again, and the stealth bonus helped me nab some DLC armor which I used for a majority of the early to mid game, dozens of hours due to their helpful bonuses. While looking to afford that initial outfit, I ended up running into a shrine or two, and found a little tree pixie (called Koroks), which help to expand my inventory. The simple goal turned into its own micro-adventure and that’s something I very much appreciate about this game, though that does have a problem attached to it, which I’ll mention later. If my readers know me, then you know I’m a stealth player. Hilariously there is a stealth mechanic on this game with a little noise meter next to the minimap but the game wasn’t really built for it. You can sneak in enemy camps while they sleep and steal their weapons but it’s not always an ideal tactic. There’s no clear indication of detection ranges so if you alert an enemy, all you’ll see is a question mark on their head and you have very little to do with that information. A bush does not conceal me, for example, for the simple fact that it’s not considered a ‘solid object’ by the game’s standards.

That does lead to another problem. The stealth mechanic is part of the alleged “play your way” that doesn’t always work. In terms of exploration, it might. There’s a lot you can do, like plugging balloons on bombs to make them float around, or throw metal weapons at enemies during a lightning storm. There’s so much to do with the world itself, but I found very little purpose in doing any of that except for water cooler conversations of “stuff I managed to do”. You CAN use a leaf weapon to blow the enemy off the cliff, but why bother if you can two-shot them or even use one of your infinite bombs to accomplish the same goal? So why would you want to waste to much time and potential health and food items finagling with the controls which you could just press Y a couple times and make the problem go away? Not that I mind the combat over much. It has the usual fare of dodge, parry, block, flurry and a variety of charge attacks that can be kind of fun to use. I like how enemies often have their own large variety of weapons and that will change how they fight. A lizard with a bow will very often try to keep at a range from me, doing a backflip which causes me to sprint to close the gap, only for them to do it again when I try to take a swing. The same enemy type with a spear however, can be quite aggressive poking me at a range, but staying at just the right distance to piss me off. It’s a lot of fun, though. I was rather afraid of puzzles upon my initial interest of this game, and has been a large part in keeping me away from the franchise. They tend to make me feel stupid if I take too long to solve them, but there is an extra level of “hurrah!” when I manage to figure out exactly what I need to do. There is another complaint attached to this however. As I completed a few dozen shrines (there’s something to the effect of 120 total) I noticed the rest usually require some gimmick to find or unlock. There’s one I’ve yet to discover because I need to be on a platform during a blood moon, the game’s respawn mechanic. The problem is, you can’t force those and they show up roughly every three hours of game time. So I imagine one of my last shrines will be me standing on that damn platform while I watch Youtube or play something else.

There’s also a few puzzles that demand use of the motion controls, which can be incredibly fickle and frustrating. Some are better than others but I found it to be more annoying than anything and I hope they minimize that mechanic in the future. I’ve still had to resort to video guides. The Divine Beasts act as the game’s “major” dungeons preceding a boss fight, and to get to the boss, their entire body acts as a mobile puzzle. One of them has three cylinders in its midsection that can turn four times and there was far too much going on for my brain to handle. I managed to do the flying beast and water elephant on my own (with some pointers from my brother but not to a full on guide’s extent) but some of their innards are just a bit too complex to me. The other complaint that I alluded to earlier, is world density. Yes, there’s a lot of nooks and crannies that will often hide a shrine, treasure, and a variety of weapons and upgrades. It can be profitable at times to simply pick a direction and start running, but this only works to a point. Between my position and my current goal (a tower, an armor piece, a town) there might be a single shrine, maybe two, on my way to find. There was however, a lot of pointless running. I heard a Let’s Player mention that they suspected the world was built first and was just filled it in with things later. Frankly, it shows. Yes it’s cute to find a stump or pile of leaves just slightly out of place, hiding a Korok creature but once you get back to running there’s a lot of open plains, fields, and vertical mountains to climb with very little to do in between and nothing to show for it except a padded hour count.  There was some controversy over the durability of weapons. I barely had much of a problem with it. Jim Sterling infamously bashed it which earned a fair amount of ire (which is not foreign to him) and even tried to negate the common compliment of “It forces you to adjust your strategy!” Still, I’m inclined to agree with that defense. Relying on a single type of weapon could make the combat stale pretty quickly, but there’s still some high level weapons I wish stuck around for longer. I did manage to acquire the Master Sword which is a permanent weapon that can run out of ‘energy’ and gives itself a ten minute cooldown but that’s very much a late-game item to acquire. Before that you’re basically stuck with a horde of guardian axes and knight’s claymores. I have run into the odd situation of having two or three weapons left but I discovered that shrines respawn during blood moons, so I simply found myself in those “Major Test of Strength” shrines which give you a single enemy with predictable attack pattern, serving as a miniature boss fight to help you get used to the combat mechanics. They drop two or three fairly decent weapons and a lot can be done with them. It’s just another thing to do in a fairly enjoyable game.

I also wanted to compliment the game’s way of leveling itself up. It’s essentially tied to story progress and Divine Beast slaying. Each mob has a few different variations, color coded for your convenience. Usually starting brown and going up to blue, then black and others. Each harder than the last, usually just wielding more powerful weapons and having a fair amount of hitpoints. Since a lot of my gameplay was exploring, getting towers and collecting armor, the game never advanced too quickly for me. I’d have a few scattered harrowing fights but the game did a good job of making sure I could take my time with it. The early game throws a few blue Moblins at you which are fully capable of one-shotting your measly four hearts, but I feel that was a sort of observation test for a player to absorb. It forces you to think about what your facing, change weapons and strategy. In practice, it just made me terrified of the color blue for a while. The game only starts throwing the tougher enemies at you once you defeat the bosses accompanying the four Divine Beasts. As the game’s major dungeons, completing them is often a test of everything you’ve learned and is as good a marker as any for “this player is ready for tougher enemies”. I am very pleased with this kind of development, as my first ten hours was spent killing jello blobs and bats for their parts so I could sell them and afford more arrows. The game never really went “Okay, time for the tough stuff” when I’m still using a wooden goblin spear. I don’t expect I would get much out of the game’s Master Mode, serving as a sort of New Game Plus except without anything you’ve earned, and is basically just a Hard Mode. The DLC has plenty more to offer which I will explore eventually but it sounds difficult, and I’ve never been any kind of Hard Mode player. Still, I was afraid of this game and I’ve been doing just fine in it so the DLC may not be as intimidating as I think. In conclusion, I’m having a lot of fun in it. It may not have lasting replayability (though I can think of a few ‘corrections’ to my early game to help things along) and after so long, I find there’s very little to actually find as I climb snowy mountains and angrily wait for a thunderstorm to pass. I’m far from done with it though, not while I still have goals in mind. I do have my sights on beating this one, and for a newer-aged millennial gamer, finding a Zelda game that I actually enjoy is an accomplishment on their part. I understand BOTW is a major genre shift for the franchise, and I hope they continue the trend if they want me as a returning customer. Until then, this game is very, very good.

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Influencer marketing: Ultimate guide

You could dismiss influencer marketing as just another kind of marketing – or even a fad – if you've never heard of it. Influencer marketing, on the other hand, encompasses a broader range of activities. It's quickly becoming a must-have tool for internet-based product and service promotion. What is the rationale for this? Because it is currently the most true and authentic type of marketing.

Influencer marketing, for the most part, pays off handsomely for those who participate. In 2016, corporations made $6.50 for every dollar spent on influencer marketing, according to a Tomoson analysis. In 2017, we determined that respondents received $7.65 for every $1 invested on influencer marketing.

Who is an influencer and what is influencer marketing?

Influencer marketing is one of those phrases that means exactly what it says. It means that businesses work with influential individuals to help them sell themselves online.

Influencer marketing allows you to identify prominent persons in your industry who serve as influencers so that you can approach them about partnering on brand promotion. 

So, what exactly does being an influencer entail?

An influencer is someone who has the ability to influence the purchasing decisions of others. An influencer may do this because he has authority, experience, a unique relationship with his audience, and a particular relationship with his audience.

He usually has a large fan base in a given market and communicates with them on a regular basis. The niche in which an influencer operates determines the extent of his or her following.

Influencers invest a great amount of work in refining their image and growing their fan base.

Influencers may be eager to collaborate with you if they perceive how your product would benefit their followers. They'll be prepared to advertise the product to their target audience by using their brand, experience, and clout.

There is, however, one caveat to this. Influencer marketing is only effective if your product is of excellent quality. If your product is substandard, sub-standard, or worse than your competitors', no amount of bribery will garner you repeat sales. No genuine influencer would agree to work with you.

What Are the Benefits of Influencer Marketing for Your Business?

When was the last time you saw a web banner advertisement? The vast majority of people are now completely unaware of them. AdBlockers are used by many people who notice them because they are so distracting.

With a global average click-through rate of 0.19 percent, display ads are hardly good.

Where to start?

It's futile to get involved in influencer marketing just because you heard it's popular. A goal must be set for your campaign.

This is probably similar to anything else in the sector. Any successful businessperson will tell you that creating goals is the key to their success.

To compete in influencer marketing, you must provide high-quality content. A 500-word blog post intended to meet SEO standards would not pique an influencer's interest. The following must be included in your content:

Accessible and actionable

Visually appealing

The FS Poster plugin allows you to share your WordPress blogs directly on 15 social media networks. Our plugin also allows you to share and schedule posts on social networking. Visit our website to learn more about the features and to try out the Demo version.

According to a research conducted by Infolinks, 50% of Internet users never click on online commercials, and 35% click on fewer than five ads per month.

Social networking networks have further added to the confusion. They want your advertising dollars, yet they make it tough for you to reach out to people with natural content. The problem has been compounded by Facebook's recent changes. They've changed the news feeds to prioritize status updates from friends and family, reducing the amount of time company sites are exposed.

Influencers are not like your thousands of friends with whom you share material. They've amassed a following of like-minded people. These fan bases can be huge – even enormous in some cases.

Consider how many more relevant people you could reach with a high-quality influencer versus a more random marketing tactic.

Finding influencers and working with them and their audiences to spread your message is usually lot easier than trying to establish a large, loyal following on your own.

Influencer marketing is not the same as traditional advertising. Historically, many organizations, particularly large corporations, have had a tight hold on their brand and marketing. The strategy isn't working in influencer marketing.

Long before you emerged on the scene, influencers developed their reputation. You won't be able to have any impact over your influencers if your firm is well-known. You'll pay them generously, but they won't be on your payroll. Their followers are more likely to listen to what the influencers have to say rather than what you have to say. They're not watching for your "opportunity."

This is one of the most important differences between traditional outbound marketing and the new breed of inbound marketing. Inbound marketing brings the client to you (which involves influencer marketing). You are no longer able to set the terms as you formerly could.

What Role Do Influencers Have in Your Company?

The type of working relationship you can build with an influencer determines the amount to which he or she can aid you. You'll gain less support from an influencer if you employ organic influencer outreach than if you pay them for a specialized influencer marketing plan. Of course, the cost would be far higher. Reaching out to influencers could result in a free favor from them (or at most the price of some free product). A systematic paying influencer marketing approach may cost a lot of money, depending on the influencer's star power, but you'll get a lot more in return.

Here are some examples of how an influencer with whom you've built a natural relationship could help you:

Creating a story, blog post, or video about a product or service

To promote you, they will share information on their social media platforms. They might share a post advertising an article you've published for your site, for example.

Providing you with access to their website so that you can make a guest article

Influencers who are compensated are more likely to promote the brand. They can write or film advertisements to develop marketing materials. They could use Instagram or YouTube to post photographs or videos of themselves using your product.

The Future of Influencer Marketing

In 2021, influencer marketing appeared to have a promising future. It solves a number of long-standing marketing issues, including audience polarization in conventional media and banner blindness in online marketing.

In many ways, influencer marketing is still on the rise - it is still new enough to be deemed revolutionary. The commodity life cycle is now ascending and has not yet reached its summit.

A decade ago, influencer marketing did not exist. It was the closest we had to influencer marketing as we know it now, with a few celebrities endorsing goods, frequently offline.

Even though it is still in its early phases, influencer marketing has reached critical mass. As more organizations invest in influencer marketing, there is abundant reason for companies to establish influencer marketing infrastructure. Because platform development has been amazing in recent years.

How to Choose the Right Influencer for Your Business

Any content marketing plan should strive to demonstrate how you can provide value to your audience. When it comes to influencer marketing, you must show that you can give value to the audiences of your influencers.

Establish Your Goals The phrase "failing to prepare is preparing to fail" applies almost as much to influencer marketing as it does to other facets of your life. It's futile to start influencer marketing without first figuring out what you want to achieve. It'd be interesting to know how many of the 18% of businesses who didn't get a good return on their influencer marketing strategy established goals from the start.

The type of influencer you wish to work with will be influenced by your goals. You can collaborate with influencers who utilize Twitter if you want to connect with people immediately. If you want to emphasize the style and image of your goods, you may use a visual media like Instagram or Pinterest. You could publish a technical post and have relevant influencers promote links to it on an industry blog if you want to have in-depth product expertise, especially if you're in B-B.

Each of the objectives, however, must be tied to a primary success metric. How would you know if the campaign was a success if you couldn't tell? You should examine the sales data before and after the promotion if you want to enhance revenue. Similarly, if your goal is to boost newsletter sign-ups, you'll have a specific KPI to track.

Set SMART goals for yourself. Goals must be specific, measurable, attainable, realistic, and time-bound.

Identify your target audience

It's difficult to locate the perfect influencer if you don't know who you want to reach.

You could even know who your ideal client is. If that's the case, keep the person's identity in mind when you search for influencers.

Examine how you targeted your Facebook campaigns in the past, as well as whether you used good PPC or paid Facebook ads. Effective influencer marketing requires collaboration with influencers who have an impact on the target population.

Final Thoughts

Influencer marketing is more of a science than an art. By following the techniques above, you'll be able to increase market awareness, which will lead to more conversions and sales.

It's important to remember that influencer marketing isn't something you should outsource or perform on the spur of the moment. You'll have to put in some work, but the practical advantages of greater brand awareness and exposure are well worth it!

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Data Science Course in Hyderabad with Placements

Some of the top free and paid children coding sources are listed below. Learning tips on how to code may appear daunting at first; nonetheless, it's the most attention-grabbing talent to acquire, especially for teenagers if taught in a stepwise method. Master's Certification in SolidWorks Design & Analysis The Master's in Computational Design and Pre-processing is a 6 month long, intensive program.

To remedy any query which requires programming, a scholar has to search out probably the most optimum steps. This is a ability of fixing issues quickly that may be applied to day by day life. Coding for youths is the gathering of opportunities available for youngsters to become involved in coding. These opportunities goal to be fun and gamified to maintain the younger thoughts engaged.

The language later grew to become one of the well-liked languages for symbolic mathematical computations. It gave me the platform to learn a lot, to satisfy new folks, and most importantly to develop the approach one needs while coding. I attended the Pandora Android App Development course at Dwarka heart this summer time.  The setting was additionally very friendly and you'll never really feel like you're in a category. The homework and the category workouts have been of excellent level and connected each a part of earlier and current lecture which in flip made the training more worthwhile.

This brings us to the top of the weblog on what's the greatest programming language to study in 2021. If you want to shift your career or transfer up the ladder in your current position, you will need to upskill and proceed studying the programming languages that are in excessive-demand.  Matlab was initially launched in the mid-1980s and is a proprietary programming language owned by MathWorks.

Owing to its expressive syntax and simple-to-use interface, R has grown in recognition in recent years. Java is among the languages that is popular in giant organizations due to it a number of use-circumstances and has long been the preferred go-to language for coding on Android.  The high-level languages are transportable i.e. they are machine-impartial.

Doctors want specific terms to speak exactly about patients and medical conditions, simply as engineers have a particular language to communicate about design and materials. "It was great. First day, we started with some introduction utilizing frequent life examples and experiences. Then we shifted to the programming and gradually I began turning into fluent in it."

These languages are really versatile as they need to perform plenty of completely different duties. We can categorise completely different programing languages using one thing called ‘ranges of abstraction’. The decrease the level of abstraction, the nearer a language is to the ones and zeros of binary, which is harder for people to grasp. And the upper the extent of abstraction, the further away it is from binary, and the simpler the language generally is for us humans to make use of and work with. Recognized practitioner experienced in related area interacting with students. Apart from guiding college students on concepts and its implementation, he will pose challenges to learners to suppose by way of all the matters leading to better studying and elevated retention.

The hottest language for internet improvement is none other than JavaScript. Major tech companies using Swift embrace Apple, Slack, 9GAG, and so forth. Swift developers with a number of years of experience can earn almost US$107k every year and, around 11 lakh rupees each year in India. Several firms, together with the likes of IBM, HCL, Infosys and so on. use Java extensively. Java developers with a few years of expertise earn nearly around US$117k per annum and, round 10 lakh rupees every year in India. It is used by corporations corresponding to Coursera, Pinterest, Post Mates amongst many others.

Low-level languages are additional categorized as machine-degree language & assembly stage language. The most necessary ability to learn in right now’s world is to know how to write a pc program.

Programming requires doc evaluate and performing evaluation along with coding that requires extra tools. There is one easy instance that may clearly explain programming.

He received his CS degree from New York and labored in San Francisco, California for 5 years. Join our staff of coding teachers and recevie training in coding, educating, social, and emotional expertise. Following are the top-rated Programming programs, based mostly on alumni reviews. Explore these reviews to choose one of the best course in Programming. According to the qualification, job roles, and job profile, computer programmers are offered wage packages. Usually the annual package deal of brisker lies between 3 lakh to three.5 lakh every year. Candidates can refer the desk under to get an concept in regards to the salary packages provided to a computer programmer.

He received his CS degree from New York and labored in San Francisco, California for 5 years. Join our staff of coding teachers and recevie training in coding, educating, social, and emotional expertise. Following are the top-rated Programming programs, based mostly on alumni reviews. Explore these reviews to choose one of the best course in Programming. According to the qualification, job roles, and job profile, computer programmers are offered wage packages. Usually the annual package deal of brisker lies between 3 lakh to three.5 lakh every year. Candidates can refer the desk under to get an concept in regards to the salary packages provided to a computer programmer.

Will be capable of perceive the pointers and the way memory is managed and its importance. Certificate title that the learner shall be receiving on the end of the course is “Programming in C”.

Managing information is one other important application of coding, as the amount of data we produce on the planet will increase. Coders use larger-level languages like “SQL” (pronounced “sequel”) to seize, retailer, analyse and type that knowledge in a lot of other ways. The primary sketch is equivalent to ‘high-abstraction’, or a excessive-level programming language. A excessive-resolution mannequin or an in depth set of blueprints for the home would be the equivalent of ‘low-abstraction’, or a low-degree programming language. While this offers a way more comprehensive representation, it’s additionally far harder and more labour-intensive to design. It is extensively used in numerical, scientific computing, and has a strong consumer base with scientific programmers. The language can also be utilized in organizations corresponding to climate forecasters, monetary trading, and in engineering simulations.  Types provide a approach to define the shape of an object, providing higher documentation, and allowing TypeScript to validate that a consumer’s code is working appropriately.

It is the method of growing an executable software program program that's implemented without any errors. It is the programmer’s job to investigate a problem within the code and supply options. After this, the code implementation, debugging, code testing, and high quality analysis is executed. These directions are usually referred to as “source code.” Coding includes writing codes for making a software program. Let’s now take a look at the detailed clarification of programming.

If you want to be a system-stage programmer, C/C++ is the language you should learn. C++ can be broadly utilized by aggressive programmers owing to the fact that this can be very fast and steady. C++ additionally offers one thing referred to as STL - Standard Template Library. STL is a pool of ready-to-use libraries for numerous data constructions, arithmetic operations, and algorithms. The library assist and velocity of the language make it a popular selection within the High-frequency trading community as properly. Java is one other well-liked selection in massive organizations and it has remained so for decades. Java is broadly used for constructing enterprise-scale web applications.

The solely method to do this is through the use of logic whereas ensuring that the code just isn't long, and there are not any redundancies. Hence, a child starts pondering of the way to solve the issue in probably the most optimum way. Kids coding lessons are often taught utilizing content material that is excessive-interest while creating initiatives that involve inventive input. In short, a children coding program is typically made in making it enjoyable for teenagers to know better. Most dad and mom opt for the best kids coding courses to assist enhance a baby’s logical brain capacity. Not only does it give kids a glance into the vast world of children programming, but additionally puts youngsters ahead when in comparison with their peers.

Kids Coding apps provide a visible and interactive way for students to discover ways to code. They supply a variety of puzzles, quizzes, and fun games to promote learning.

Before introducing coding for kids, you need to get them fascinated within the subject. You can do that by introducing him to the historical past of coding, give an introduction including a few programming languages, enjoyable video games, and relatable actual-world purposes. The next step is to ease them into coding, which could be done by using a dependable web site similar to Cuemath.

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