#ReVision Eye Supplement

[chu-diaries]

140 days of productivity: day 20/140

The day went by so fast! How many hours did we have today? I felt like I woke up, blinked, and suddenly it was 9 pm.

I worked and studied a lot today. I struggled with my scent and coconut wax suppliers — unfortunately the scent of one of my candles was discontinued and now I will have to find another similar scent. I also managed to practice yoga during the day and to do some household chores. It was a great start to the week. Even with a headache and tired eyes, I can't turn off work. I will probably go to sleep thinking about scents and candle jars.

💥: day 13/29

💧: 1,5 L

🏋🏻‍♀️: 🚫

🧘🏻‍♀️: yoga practice (1 h)

🕯️: studied a bunch of classes about packaging, shipping logistics and sales (2 h) + I started developing my catalog for souvenirs (6 h)

🪘: 🚫

🇰🇷: revision session (1 h)

📚: hp and the deathly hallows

🎧: lotto - exo

📺: 🚫

🛑: ��

💊: vitamin c, omega 3 and iron supplements

[snevmev]

[scratchy tape recorder sfx]

Supplemental, I recently took an autism exam. I am fearful that whatever Eye entity may have changed me more than I thought, because I scored the maximum possible result without any revision or preparation before hand.

[songoftrillium]

Hey, so I'm reading your Hearthbound Supplement, and I wanted to ask why the Fianna were such unified enemies of theirs. From what I can tell, (this is more something that just bugged me) Fianna are one of the tribes with a stronger, healthier relationship to their Kinfolk (inasmuch as any tribe broadly has a good relationship with their Kinfolk) (though I have been known to miss Implications from time to time). Plus, it seems like the younger Fianna have a much kinder view of the Crinos Born, so I'd think they'd be heavily split along generational lines on whether the Hearthborn are enemies or not

Now, granted, my knowledge of WtA is only deep in certain areas, so this might just be me not having gotten to certain books yet, and the Finna really are Like That.

(Or it could be my draw to the whole keeper of history and knowledge, craftsmen, and tendency to adhere to the "Canon is a box of scraps in a cave and I'm Tony stark baby" approach)

Thank you for reaching out! I'm glad you asked, and I have hoped someone would ask me about this. I'm gonna give a wordy answer that addresses your concern and elucidates how I analyzed all the tribes to draw my conclusions.

I want to preface my answer by voicing my fondness for the tribe. At the top of it all, I completely agree that their biggest strengths are their existence as master artisans and storytellers. These aspects are absolutely worth holding onto and even expanding upon. I also appreciate their Celtic origins, but I wish it encompassed all Celts, not just the Irish. That veers a bit off-topic from your question, though.

My depiction of them as the primary antagonist of the Hearthbound stems from both their treatment of the crinos-born, as well as the objectification of their Kinfolk. In the book I call them crinos-born, but in WtE the writing team and I settled on Warborn as the title of choice, so I'll be using that term from here on out.

Different editions were never meant to supersede each other, but rather, build on one another to depict a continuous meta reflecting the evolution of Garou Society in response to their developing war against the Wyrm. For example, the Storytellers handbooks from 2nd edition, revised, and the companion all offer unique tools with very little overlap.

While more experienced people versed in the literature like you and I can read between the lines and handpick the bits we like most, it ignores that the flaws inherent to the tribes are intentional and meant to be confronted by players at the table. To that end, I conducted my research behind my writing with consideration paid to the narrative voices depicting each book, the Garou within them sharing their subjective knowledge, and use that to coalesce a perspective behind my group. When I started writing Hearthbound, I decided to form my conclusions based on three narrative perspectives:

The way a tribe's leadership wants other tribes to view them, their kinfolk, and their warborn.

The way the kinfolk within that tribe feel like they're being treated.

The way the warborn within that tribe feel like they're being treated.

Hearthbound makes a more naked depiction of these problems specifically to confront them, though I admit I should have taken more of an effort to make it clear that these depictions are reflecting the worst aspects of these tribes, rather than the whole of them. These problems represent the worst outliers from each tribe, and are not meant to entirely replace these tribes. When it comes to systemic oppression, it's not always the laws and customs that cause the problems. Still, there are those who hide behind the veneer of hierarchy to abuse those customs in a way that they seldom face repercussions for it, and the Hearthbound are those repercussions. This is a reflection of other forms of systemic oppression, like laws alleged to be 'tough on crime', which on the surface looks great, but glosses over the way those crimes unfairly target marginalized groups and keep them from rising to prominence.

I draw my conclusions on each of the tribe stances from three sources:

Kinfolk: A Breed Apart offering a depiction of Kinfolk the way the tribes represent them, or rather, the way they want other tribes to see them. It does hold many positive depictions on the relations between Garou and Kinfolk.

Kinfolk: Unsung Heroes, in contrast, represents a perspective from Kinfolk that is a little less flattering and is more closely representing the perspective of the Kinfolk themselves (and is taken as such.)

Guardians of the Caerns has a chapter dedicated entirely to the Warborn, and lends their perspective on what it was like growing up in a Sept of a particular tribe. This represents the sentiment of what it's like being a Warborn from any one tribe, opposed to the way these tribes want to be seen.

To answer your question in short, yes, the worst of the Fianna really are that way. They are more likely to outright kill a Warborn and their parents than to accept them, and those Warborn who do exist within their tribes seldom hold rank, are often hidden from view, and subject to rather terrible abuses by their fellow tribemates.

Contrast that with the blatant and plainworded phrasing in the tribe description of them trending towards violence:

Combine that with their lackadaisical ways of speaking of their own families in Guardians of the Caerns, pg. 94:

Merryck's comments: It's not without a certain sense of irony that the Fianna, self-avowed masters and mistresses of passion and abandon among the werewolves, despise the [Warborn]. They believe that physical deformity shows a malevolence in the spirit as well. But at the same time, they're really into having wild, raucus parties, orgies if you ask my opinion. The Fianna dismiss any potential risk with this kind of activity their answer to slowing those driving passions is "find a Kinfolk to slake your lust." How practical. Don't kid yourself; there are many [Warborn] running around with red hair and green eyes, both in their tribe and outside it.

When you combine multiple sources and add a human perspective wrt consent, it starts to paint an incredibly unflattering canonical picture of the tribe, and a narratively compelling one, to boot.

For others reading this, below is a link to my supplement in question OP is referencing, if anyone wants to take a look!

[vidreview]

VIDREV: "NO CGI is really just INVISIBLE CGI" by The Movie Rabbit Hole

[originally posted march 19th 2024]

like a lot of folks, i've grown weary of the preponderance of CGI in Hollywood flicks these days. it's all but a cultural tradition at this point to watch John Carpenter's The Thing, sigh wistfully at the goopy silicone animatronics, and say "man, you couldn't make anything like this today." the Marvel/Disney machine has done a lot of heavy lifting to engender this perspective, particularly in the cape department where every aspect of the film is under intense and non-negotiable executive revision until quite literally days before theatrical release (as was the case with Marvel's The Marvels). it doesn't help that this shift has a lot less to do with what's best for any given movie, and a hell of a lot more to do with the lack of unionization in the visual effects industries making them a readily exploitable source of labor. in such an environment, films that nevertheless lean on practical effects are enticing (and, quite often, demonstrably better) enough that we'll sing their praises to the point of hyperbole.

enter Jonas of The Movie Rabbit Hole, here with a genuinely essential series of video essays to slap some sense into that hyperbole and bring us all back down to earth.

one of the more important directors for the development of unobtrusive CGI is David Fincher. i have my fair share of issues with his films, but credit where it's due: they're constantly pushing technology in ways that you absolutely would not expect. there's a crane shot at the start of The Social Network that couldn't be shot with a crane for safety reasons, so instead it was stitched together in post from footage taken on multiple 4K cameras at once. a shocking majority of the blood you'll see in his movies is CGI. the praise i've portioned for his recent films, even as i find him sort of a fundamentally anti-human director, is that he understands that visual effects work best as a supplement to existing footage, rather than a pure replacement.

i share all this to underline my use of the word "essential" in describing this series. i worked in film for a few years, i went to film school, i try to understand the production process as pragmatically as possible. i am under no illusions that Christopher Nolan flicks or the John Wick movies are totally practical. i'm not an anti-CGI evangelist! and yet, even then, i had NO idea just how wrongheaded i still was on the subject until i watched these videos.

Jonas brings 18 years of visual effects experience to bear on a series that feels very much like him trying to settle an argument he's been having for about as long. he has countless examples of films praised for their lack of CGI that relied heavily on their CGI, using the demo reels of effects houses as the smoking gun. Jonas speaks with a plain matter-of-fact-ness that's bolstered just so by an edge of smug frustration, the kind you only get after bearing a cross for years. but it's not just an "i'm right, you're wrong" affair by any stretch. Jonas does a fantastic job communicating a lot of complicated subjects in ways that are friendly to even the most casual of viewers, rarely blaming the audience for their ignorance when studios and market trends are the real culprit. and because he's a veteran of the industry, he's able to interview prominent figures that would otherwise be inaccessible for the average essayist, like Academy Award winning VFX supervisor Paul Franklin.

(and here we come up against a question countenanced more than once on this blog-- where is the line between video essay and documentary? i think this readily qualifies as the former given the first-person direct address shot-in-his-living-room style, yet somehow i feel a bit uneasy with the classification. oh well, a topic for another day)

the most eye-opening section for me is also one of the first, where Jonas confronts the public image of Top Gun: Maverick. i haven't seen this film yet, but i have seen the endless and unqualified buzz about its practical effects. and to be sure, these deserve quite a lot of praise-- they put real actors in real fighter jets for crying out loud! yet in all that crowing, a very important fact totally fell by the wayside: nary a single shot in the film is without digital manipulation. and not just in the basic touch-up sense, removing safety anachronisms and the like. the jets, the cockpits, and the actors themselves were all extensively replaced with digital doubles! i felt like an utter fool when he pointed out that quite often films praised for their lack of CGI will have more VFX artists credited than any other department in production. like, holy shit, it's all right there on the screen? what job were those hundreds of people doing if it was "all practical effects"?

which is the crux of the series' title: "NO CGI is really just INVISIBLE CGI." we have --or perhaps it'd be more honest to say i have-- a tendency to address CGI in binaristic terms. either it's there, or it's not there, right? Fincher's team can put digital blood running down Daniel Craig's face in the shower after he gets shot in The Girl With The Dragon Tattoo, but it's Craig's physical presence that sells it. a film like Top Gun: Maverick makes its bones marketing the spectacle, and because there's such fatigue with CGI-heavy blockbusters any mention of intermediary visual effects carries with it a stain on the authenticity. but really, it does nothing to diminish the practical nature of the photography to also acknowledge how much of what makes it to cinemas is, essentially, an extremely realistic cartoon.

and this is what Jonas's series really exposes for me. a lot of what we're looking at here is rotoscoping, the longstanding tradition of animating over top of live footage a la Disney's Snow White in 1937, though the technique was truly mastered by Max Fleischer in the 1910s. is there some gradeschool nag whispering in the back of our head that a rotoscope is just elaborate tracing? that it's a cheat, because "real" animation is done without reference? (for anyone who has actually worked in animation, this is your cue to laugh derisively)

but the truth is that you do not get one without the other. it takes a lot of planning to film a scene with an eye towards being reanimated, just as it takes tremendous skill to make that animation look good. if Top Gun: Maverick feels viscerally real, it is because the visual effects artists had a real reference to work from. one is not inherently better than the other, more pure or authentic. this isn't the 80s anymore, man. i mean, to get real fucking technical, the instant we stopped shooting on film was the death of "true practicality" in cinema, because a digital sensor must by its nature interpret visual information as raw data and then translate it to something we'd recognize as an image. celluloid film is purely optical, but a digital sensor requires someone (or a team of someones) to write an algorithm to do that interpreting-- which is, inherently, subjective. different cameras have different image processing algorithms, different bitrates and dynamic ranges, to say nothing of custom LUTs and the extensive post-processing required to make RAW footage not look like complete ass. and even now, celluloid cannot be said to be truly pure, because any film shot on celluloid is then digitally scanned, subjected to the exact same post production processing as any other digital film, the final product re-scanned to celluloid to give it a true filmic look, and then yet again digitized for wide distribution (because most cinemas today only have digital projectors).

this is not A Bad Thing! it is simply the material reality of film production in the 21st century. it has many upstream and downstream effects, of course, many of which have negatively impacted the quality of films and television in various ways-- but these are not qualities inherent to digital technology! rather, they are the result of a profit-seeking industry eager to cut corners wherever possible. the existence of CGI is not to blame for the bad CGI in Marvel movies, it's the greedy executives exploiting non unionized labor, forcing crunch at every level with no regard for the human cost, endlessly meddling in the production with their indecisive market-analysis driven brand alterations. ah, the age of the executive auteur, when at last the soulless corporate mindset once commonly decried by artists and audiences alike has been fully naturalized and even embraced by people who call themselves fans, who would sooner throw a director under the bus than say a bad word about Kevin fucking Feige.

it's a pathetic state of affairs, and it can only be called a brilliant act of marketing that CGI burnout in the public has been leveraged to only further erase the essential labor of visual effects artists. Jonas here even points out, much to my slack-jawed amazement, that promotional behind the scenes footage today frequently removes green screens and other indicators of a digital-forward production as a way of unduly acquiring practical effects credibility. as someone who watches a lot of these BTS features, i feel lied to and manipulated, and ashamed of myself for not realizing that making-ofs are just as much marketing as they are educational, often moreso by a lot. it's all just an illusion! and it cannot be repeated often enough that this is an erasure of a historically under-unionized industry, one whose exploitation has been thoroughly documented for years. that this erasure is occurring at a moment when finally, finally, finally corners of the visual effects world have begun to shed the libertarian values inherited from the tech industry and actually unionize is pretty fucking conspicuous to say the least.

i call these videos essential because they reveal a tremendous blind spot in our media literacy, even among those like myself who've studied media extensively. we are, generally, pretty good at identifying the weaknesses in a finished film, but our lack of experience and our credulity towards marketing that doesn't feel like marketing leads us to utterly fail when we attempt to diagnose their cause. when our analysis lacks an understanding of the material conditions of production, as informed by firsthand accounts of those who actually do the work, we cannot help but embarrass ourselves and in so doing blatantly misinform our audiences.

it didn't used to be like this. i remember the late 90s and early aughts, when joints like ILM were praised for their innovations. how often do you hear about VFX houses today? probably only when they go bankrupt. it's such a shame, because what Jonas does in these videos most of all is reveal just how astonishing the work of visual effects artists actually is. these are the perils of an industry whose job is to be invisible, which is why it's so important that their labor be made visible after the fact, celebrated rather than papered over, analyzed extensively rather than mentioned offhand. the truth is that quite a lot of us have been boldly, profoundly wrong about CGI in movies for a long time, and we're well past due for a correction of the record.

all of which is to say that these are some really great videos and you should absolutely go watch them right now

NOTE FROM THE FUTURE: episode 4 came out and it's also great.

[twilightmalachite]

Raison d’être - The Nameless Girl 1

Author: Akira

Characters: Shu, Mika

Translator: Mika Enstars

"Nnah~, yer just like him in that respect too, Oshi-san. Ya don’t even know who Japan's current prime minister is, don’t ya?"

[Read on my blog for the best viewing experience with Oi~ssu ♪]

Season: Winter

Location: Airport (Lobby)

The next day. At the international airport Itsuki Shu uses to travel between Japan and Paris…

Shu: Let us get our story straight.

In the villa’s cellar, my grandfather has left us this—two dairies of unknown origin.

For the sake of convenience, I will refer to the one titled “The Taming of the Shrew” as “Diary (Shrew)”—

And the one without a title that is sealed with a lock as “Diary (Nameless)”.

Mika: (Fufu, Oshi-san really does look like he’s enjoyin’ himself.)

(He likes to do research and the like to satisfy his curiosity, y’know—since always. Guess he’s kinda like an otaku when it comes to that.)

Shu: Why are you looking at me like that? Do you have something to say?

Mika: Nahh… So these two dairies are what Raffaello-san’s been callin’ personal novels with Grandfather as the protagonist? Or somethin’ like that?

Shu: Right. Although for whatever reason, Mr. Raffaello refuses to say anything about the matter, so I cannot ask him myself.

Mika: Yeah… I mean, Raffaello-san’s doll is equipped with a communication device which is suspicious, he was worried if it’d get through the rairport’s luggage check.

So he’d said somethin’ about like, goin’ to Paris one step ahead of us.

Shu: Oh well. Although I do not know how he plans to arrive there ahead of us… It would be quite the problem if the communication device is discovered and we are in turn suspected of something like terrorism, so his consideration is appreciated.

Mika: It’d be a lot easier t’just do things in person, why go through all the extra trouble of speakin’ through a doll? Maybe he’s shy, like how ya used t’be, Oshi-san?

Shu: Well, he’s thoroughly suspicious. But, well, we’ll formulate what we can about him so far. I do not think we will be able to find any conclusions as things are now.

Back to our main topic. Revising your earlier statement, or rather to supplement it, the author of both of these diaries is also Grandfather.

My grandfather is both the protagonist and the author of both of these books. Well, as a diary, that is to be expected.

Mika: Yer right… If ya were documentin’ the life of someone else rather than your own, it wouldn’t be a diary, but instead a record of observations.

Shu: Yes. And it appears that these two diaries were written during two different periods of time.

The dairies have the date and weather written, however, the date is not specified, so we can only speculate.

But it seems that these two diaries were written approximately ten to twenty years apart.

My grandfather had little interest in world news when he was young, so there is a limit to how much I can infer about the time period through comparing it to newspaper articles and the like.

Mika: Nnah~, yer just like him in that respect too, Oshi-san. Ya don’t even know who Japan's current prime minister is, don’t ya?

Shu: Because I have no interest in knowing. Hmph. Be it as it may, I can understand his common sense that much.

I, in fact, do feel a peculiar sympathy for Grandfather in his younger days. Perhaps it is because he is my grandfather by blood, but the way he thinks is much like my own.

Mika: (Nnah~, Oshi-san looks happy… He’s really takin’ pride in bein’ similar to his admired Grandfather.)

Shu: Because of this, however, the boundary between Grandfather’s ego and my own began to blur as I read—

Shu: And what is that face for? I thought I said to not look at me with those condescendingly affectionate eyes!

Well, whatever. My grandfather studied abroad and resided in Paris a number of times while he was young. He is eerily similar to myself in that regard as well.

He had lived in Paris for some time while studying abroad in his teens, and again because of work in his twenties or thirties.

These two diaries appear to have been written at these two respective periods.

My grandfather seems to have not settled down as he aged. Even back then, he was throwing tantrums and causing trouble no matter where he went… It’s slapstick that is surprisingly enjoyable to read.

Mika: Nnah~… I wish I could read it too, it sounds interestin’ from what I’m hearin’!

Shu: It turns out that Kiryu had a connection of sorts, so right now, he is getting it translated by someone he trusts. So wait patiently, a translation into a modern tongue of sorts will be available sooner or later.

Until then, I shall translate and read aloud for you, although it is a lot of work.

That being said, I am no expert either, so do bear with me if there are any mistranslations. It’s not as if we are dealing with more difficult expressions, but this is a diary we are talking about.

Mr. Raffaello has described it as a private novel, but as dairies are, it was written not with the purpose of being read by anyone, you see. Matters of presentation are of little concern.

But conversely, as diaries are, there are expressions frequently used that only the author, Grandfather, would understand, which makes it difficult to translate.

Mika: Aren’t we gettin’ off topic?

Shu: Yes… However, our goal is to glean my grandfather’s past through his diaries, so we can present to him his desired funeral for the Funeral Contest.

If we wish to understand it perfectly, we mustn’t miss out on any detail, you see.

Mika: So yer feelin’ nervous—Nah, yer just a perfectionist, huh, Oshi-san?

Shu: You are just too crude. As the proverb goes, “God is in the details”.[1] Always keep it in mind.

[ ☆ ]

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1. This is more of a fun fact; you might know the English saying “the devil is in the details”, which is a proverb that is nearly identical both in words and meaning to this Japanese proverb. However, the connotations are slightly different; “the devil is in the details” describes that details are complex and therefore the most problematic, emphasizing that they must be paid attention to. “God is in the details” describes that the sense of wholeness will be complete if attention is paid to, or perhaps that a work may lose its sense of divinity if details are neglected. Given Shu’s fondness for detail and perfectionism, I didn’t want to lose the connotation that the Japanese proverb had, and kept the saying as-is.

[lucky-clover-gazette]

The Big Picture

Vio & Shadow-focused Four Swords Manga Adaptation | Rated G

Chapter 4: Quest Updated

“Can you hear me?” asks the voice of Ganon, projected from some kind of unreachable void. Shadow isn’t exactly sure how Ganon’s remote oversight works. All he knows is that Ganon created him, Ganon’s will is truth, and Ganon will appear to him only when the time is right.

Not that Shadow cares, or anything.

“We can hear you,” sighs Vaati.

“I can’t hear you.”

Read the chapter (and very informative author's note!!) on ao3 or under the cut:

Author's Note: Finally, I’m working on this project again! I encourage you to re-read the previous chapters, because I just did a pretty significant amount of revision. The most notable change is the decision to not use manga dialogue verbatim—I’m still heavily referencing the transcription, but changing some language and phrasing to blend with my own style. Also important to note is the change of Vio, Shadow, Green, Blue, Red, Zelda, and Link Prime’s age, which is now 16 instead of 19. Working so closely with the manga, I’ve concluded that it makes the most sense for them to be around that age—mature enough to resonate with adults and potentially develop complex feelings, but young enough where it’s still believable that they would speak/act in line with the manga. To me, the True Manga Canon Links are 14-16 in the same way that, like, Katara, Sokka, Princess Azula, and Prince Zuko are ages 14-16. They’re not living in a world like ours, attending high school or something equivalent; they have very adult responsibilities, while simultaneously coping with teenage angst and the challenge of developing their own identities. And while Vio and Shadow stand out as the characters least believable as any age younger than 14, I do think the others—while silly in an cartoonish way—are not as a whole believable as preteens either. Like, Mabel and Dipper Pines are written as unusually clever preteens, and even they still seem younger than Red. Side note: cartoons are not my only frame of reference for media interpretation, but I am writing this specific thing like it’s a cartoon. Ultimately, I think that while I personally prefer writing a more mature interpretation, these characters can only be teenagers in something meant to complement and supplement canon. That said, I still fully intend to expand on the queer subtext between Vio and Shadow. Their canon arc reminds me a lot of the confusing, codependent, and ultimately life-altering relationships queer teenagers often find themselves in. This adaptation will explore Vio and Shadow’s journeys of queer discovery, both literally and allegorically, because that’s how I personally interpret the manga. Even if you’re not big on shipping these specific characters, I sincerely hope you can respect my interpretation and still find something that resonates. Anyway, I hope you enjoy this very belated update :)

Pure light transports the heroes to a chamber beneath Hyrule Castle. Link has been here before—very recently, in fact—but to Vio it somehow feels new.

“Are you well, heroes?” asks a soft female voice. Vio looks towards the center of the chamber, where a young woman floats trapped inside a magically crystal. She clasps her hands in front of her chest as if to pray.

“The Blue Maiden!” Red exclaims, his eyes wide.

“Did you save us?” asks Green.

“Link,” says the maiden, “something awful has begun. A terrible ordeal. Darkness once again covers Hyrule, just as in times of legend.”

Tell me something I don’t know, Vio wants to mutter, but decides not to antagonize the minor deity who probably just saved his life. .

“The shadow that took us was a phantom hero,” the maiden continues, “created by an evil demon.”

Vio perks up at that. The more he learns about that freak, the easier it will be to defeat him.

“It is a ‘Shadow Link. A dark reflection of you, but more powerful than any mere shadow.”

Vio attempts to process this. How exactly had Shadow Link been created? It couldn’t have been a similar process to himself. Vio is a fractured piece of a person, while Shadow Link is a dark reflection of a whole. No wonder he’s more powerful than the four of them—although combined, maybe the heroes could still stand a chance.

The maiden sighs, recapturing Vio’s attention. “It took all my might to send even that small light through the barrier. His power is not yet at its peak. You must stop him before that happens.”

“We’re no match for him now,” says Red in a defeated slump. “How can we ever beat him?”

Blue draws his sword. “We’ve gotta smash that barrier first!”

“That isn’t possible right now,” says the Blue Maiden. “The Four Sword has been cursed by Vaati. You must re-energize it, fill it with Life Force and the curse will be lifted. Then you can defeat the darkness for good.”

The four exchange uneasy glances. Finally, Green speaks up.

“Blue Maiden,” he says, “where is Princess Zelda?”

“I don’t know,” admits the maiden. “Weak as I am, I can’t sense clearly. But I can faintly sense her spirit… far, far away.”

Green nods, determined. “She’s alive. That’s enough.” It brings Vio relief, too, that this could all still be undone.

“Hold on, Blue Maiden,” says Green. “We’ll be back to save you soon.”

“Be careful, my four heroes.” The maiden closes her eyes tight, as if channeling the little power she has left. “Travel towards the Eastern Sea. I sense another Maiden within the Eastern Temple.”

Vio finds himself nodding, too.

They exit the castle through the dungeons, careful to remain undetected by Shadow Link’s army of monsters. Eventually they reach a path, which according to the sign leads directly from Castle Town to the Eastern Sea. Vio assumes that it’s meant to be followed by traveling merchants, over the course of days.

Red sighs loudly.

“Losing confidence?” Vio asks, almost playfully,.

“Yeah,” says Red, “how’d you know?”

“Because I am you.”

Green stares into the distance, filled with determination. “If Dark Link is our shadow,” he says, “we need to be better to beat him. Be more like father.”

“Yeah,” Vio smirks. “Right now, I’d give us a 50/50 chance.”

“But if we restore the sword we’ll get stronger!” says Red. “And if we can learn some teamwork—”

Blue scoffs, cutting him off. “I don’t care what it takes, we’re doing it.”

Green’s eyes sparkle in the daylight as he addresses his teammates. Vio can’t help but feel a little inspired. “Then it’s decided,” their leader announces. “Let’s go!”

─────────────────

“You’re late,” Vaati tells Shadow as he shuts the door behind him. The one-eyed demon waits at the far end of the conference table, as usual, scrutinizing the shade as he plops down into his own seat.

Steadying his heart, Shadow rolls his eyes. Reclines slightly, enough to slam his boots onto the table. Shoots Vaati a self-satisfied grin. “Sorry, I was busy. Doing things, in my body.”

Vaati’s eye narrows. The Wind Mage may now be free in the world of light, but he still lacks a corporeal form.

“You’re welcome, by the way,” Shadow adds. “For breaking the seal.”

“Don’t congratulate yourself just yet.”

The air in the dark room begins to crackle, an occurrence Shadow immediately recognizes. He removes his boots from the table and stiffens his posture.

“Can you hear me?” asks the voice of Ganon, projected from some kind of unreachable void. Shadow isn’t exactly sure how Ganon’s remote oversight works. All he knows is that Ganon created him, Ganon’s will is truth, and Ganon will appear to him only when the time is right.

Not that Shadow cares, or anything.

“We can hear you,” sighs Vaati.

“I can’t hear you.”

“Do you have us on mute?” Shadow asks, helpfully.

Vaati scoffs. “He just said he can’t hear you.” Shadow just shrugs.

“I think I have you on mute,” says Ganon. “Hold on, this is—ah. Yes, I see.”

Vaati and Shadow lock eyes, unsure who should speak first.

“I still can’t hear you,” Ganon repeats, frustrated.

“Lord Ganon,” Vaati finally says, “we are both here.”

“There you are. Excellent.”

Shadow preens under his approval. “My Lord, I have good news. The Wind Mage has been successfully freed, and the Four Sword drawn. Princess Zelda is in our clutches. Hyrule Castle has been overtaken by our forces.”

“Our clutches? Our forces?”

Shadow winces. “Yours, My Lord.”

Ganon pauses for a moment. Shadow grips the edge of the table. “It seems you are serving your purpose, Shadow Link.”

Shadow grins. “You should have seen it, Link’s father was so fooled. And the four heroes—”

“Are dead?” interrupts Ganon, and Shadow’s heart falls.

“Not… as such.”

“Explain yourself, Shadow Link.”

Shadow deliberates each word before it leaves his mouth. “They had assistance, my Lord. The Blue Maiden, while contained, used her remaining light magic to repel my presence and transport them to safety.”

“I see.”

Shadow braces himself for his creator’s disapproval.

“Because the heroes survive,” Ganon says, “they pose a great danger to you.”

Shadow hangs his head. “I’m sorry, I can’t control how I—”

“You are not the perfect being I sought to create, Shadow Link. You are inherently flawed, weak to the light.”

And now the heroes know it too, Shadow realizes, ashamed. Despite all of his prior gleeful theatrics, he hadn’t even considered acting unbothered by the light. Not when it scared him so much, not when it caught his so off-guard. Pathetic.

“However,” continues Ganon, “your failure is not in your weakness.”

Shadow’s breath hitches. “It isn’t?”

“Your failure is in your admittance of defeat. You have the power of darkness at your disposal—use it wisely.”

Shadow takes a deep breath and nods. “Yes, my Lord.”

“You will need to travel in darkness to defeat them,” Ganon instructs. “Do not attempt to approach the heroes during the daytime.”

“But then how am I supposed to—”

“Have patience. Observe. Prevent the four heroes from gaining power, but do not make yourself vulnerable again.”

Shadow’s palms itch. He’s not a delegator, and patience is not one of his virtues. There’s no place for theatricality in this mission. It doesn’t sound fun.

“I won’t disappoint you,” Shadow reassures his creator, already plotting ways to disrupt the heroes’ journey. He could still make this fun. He could succeed, despite his weakness. He isn’t a perfect creation, but he can still be the next best thing.

Or would he be the next worst thing, considering the evil of it all?

“Your supervision is appreciated,” Ganon tells Vaati. “And Shadow Link—”

“Yes?”

“I am… proud of what you have accomplished. I look forward to your future successes.”

Shadow breaks out into an almost childish smile. “Thank you, my Lord!”

Ganon doesn’t respond, but his presence still lingers. Vaati and Shadow exchange a tired glance.

“You have to end the call,” sighs the Wind Mage. “Sir.”

“Right,” says Ganon, admitting no fault of his own. “Meeting adjourned.”

[chronotopes]

talk shop tuesday! more relevant than ever now that i read aivide.

i'm very curious about your approach to pacing. how can you tell the time a scene should cover, and more importantly, what scenes you don't need at all? i always come from an approach of bare minimum scenes, and fill what i think makes sense, but i'm curious to hear your method.

have a nice day!

honestly this is one of the things in my writing that i need to approach more consciously. largely right now it's just a two-part process of a) what scene do i want to come next and b) why do i want to write it? I think in the past at least my first drafts have swung towards having Not Enough Scenes, and a lot of what i do when i revise is look for moments when the story feels rushed, needs to take a breath, feels like it's glancing over too long a length of time. i am a sort of (with reservations) maximalist writer, in that i cannot stand to write a narrative where there feels like there is a Glaring Chunk missing.

so when i revised aivide chapter two, for instance (the most exhaustively revised bit of the whole thing) one of the scenes i added is the sequence where nora and aivide go to the park. for which the thought process was something like:

what scene do i want to come next? -> nora and aivide should hang out and relax and go to perhaps like a garden

why do i want to write it? -> well the next Big Plot Thing that happens is the cerata pass incident but we need to establish some kind of Normality for aivide and nora before that normality is shaken again. simultaneously we haven't seen any public hangout spots in santerre and taking the audience to more of them would productively contextualize aivide and Nora’s respective relationships to the city. also this will be a good opportunity to check in on nora's relationship with her dad in one of its more stable moments, which we haven't seen much of yet.

those resting scenes are some of the big culprits for Later Additions to me – things i don't think about as i'm drafting but realize i need as i reread. another example is the one where nora takes aivide to the troll notre dame in chapter five:

what scene do i want to come next? -> the next Big Plot Thing is dinner with terift, but i want to create a cushion of time in between that, let's have nora and aivide do touristy stuff in france and have a more relaxed/less intense conversation

why do i want to write it? -> the sasara-spurred tension between aivide and nora feels unresolved right now in a way that does not feel true to their characters. while i don't think they would address it directly, they can still talk around the general subject by discussing how they currently frame and interpret their feelings for donnah and govy, which is also useful because both of those unresolved relationships are extremely relevant to the events of chapter six. also, we need a cushion between one Tense Moment (soerin's shop) and the next (dinner with terift),

in terms of cutting, for aivide at least the #1 thing i cut is dialogue, because the homestuck format makes it REALLY easy to spin into Way More Banter Than Is Needed. but on a larger-scale sense, i apply the same sort of (maybe excessively) impressionistic approach. if a scene feels boring and annoying for me to write, why is that? is it there for a good reason, or just because i feel like it needs to be? for something very character driven like aivide, one thing i really tried to focus on is "is this scene repeating character moments beat by beat from a previous scene? have we seen aivide and nora go through precisely this moment before? are we learning anything new about them?" those are the kinds of questions that led me to either take a scene out or (i am a material growth player, after all) supplement it with material that makes it a scene worth reading in my eyes

[rainbowolfe]

Please a part three !

I was inspired to expand on this story, so I'm currently revising part 1 and 2. But here's part 3 in all its unedited glory!

When Does a God Lose Their Heart? Part 1 | Part 2 | Part 3

Narinder stomped into his “base of operations” as he often called it, Kallamar in tow. The door creaked as it slowly closed itself, but didn’t fully shut. Shamura tentatively pushed it back open as they entered, not always sure when they were welcome when it came to Narinder.

Shamura often wondered about Narinder’s attachment to this abode, but knew better than to ask. They had vaults of their own sprinkled about the lands where they stored trophies and supplies, and recouped in as needed. But this comfy little cottage sitting out in the open was no vault. Crafted of wood and stone, with a roof that leaked when it rained, and no defenses outside of the simple protective-barriers Narinder himself setup. Without a doubt, this was a home, not a vault.

The living area was lit up primarily by the fireplace, but supplemented by candles hanging from the rafters. They were surprised to see the place so messy. Narinder wasn’t exactly a stickler for cleanliness, but the clutter decorating the floor, seating, and most other surfaces was uncharacteristic for him.

They entered the cottage and gently shut the door behind them. They lingered by the door for a moment. Less out of hesitance—if Narinder didn’t want them to come inside, he’d have shut the door—and more out of curiosity regarding the mess.

“What, are you a stranger? A servant? Settle yourself.” Narinder barked at them as he weaved through the items littering the floor. Shamura followed his lead to find a place to sit.

“Goodness, it’s like a desert in here.” Kallamar commented. “Aren’t you warm?”

“Quite comfortable, actually.”

Narinder set Kallamar on the sofa in the middle of the room with a surprising level of care. Kallamar had even braced for a sudden drop. Narinder’s half-lidded gaze lingered on him, causing their eyes to meet for just a moment when Kallamar went to scan his surroundings.

“The problem is my spine, I believe. My arms hurt as well, however, so I shouldn’t go anywhere until those are better as well! I wouldn’t want to have to defend myself with only two arms, if the problem arose…”

“I didn’t think you had a spine.” Was all Narinder had to say as he went to retrieve the necessary supplies. He stopped by the fire to put on a kettle of water.

“What? Of course I have a spine, how else would I—Oh.” He rolled his eyes. “Very funny.”

The more Shamura looked around, the more they hoped Narinder was eager to share whatever it was he was working on. On closer observation, they realized the items strewn about were positioned on top sigils painted onto the floor. Divining Sigils were used to glean the purpose or origin of an item—divine or otherwise.

Narinder had asked for Shamura’s assistance in how to use and activate the sigils, which they happily provided, but he hadn’t shared why he was suddenly inclined to learn about it. Shamura was pleased to finally know why—albeit only partially. It also explained all the random objects. Divining an object was a tedious process that required a lot of trial and error to discover the resources that would resonate with it. Shamura could recall the exasperation they felt after spending months acquiring rare gems and magical geodes to divine the purpose of a magical key they had found, only for the damn thing to resonate with a bowl of milk.

“Stop being nosy.” Narinder suddenly broke the silence.

“May I move this… toy?” Shamura gestured to what looked like a golden puzzle box resting on a seat. They knew it wasn’t a toy, but hoped it would provoke him into explaining.

“No.” He pointed to a different seat with a stack of papers on it. “You can sit there. Just throw the papers on the floor, they’re useless.”

Shamura went to the assigned seat, having to both step over a baffling, metal contraption and duck under a candle to reach it. They placed the papers on the floor with care regardless of their allegedly useless status, and had a seat on the plush stool that they usually preferred to sit on when they visited. Narinder thought the way they sat on it was strange, but they truly enjoyed it despite their odd posture.

“When I suggested decorating, piles of junk aren’t quite what I had in mind…” Kallamar hummed.

“What?” Narinder didn’t look up from the concoction he was brewing.

Shamura envied Kallamar’s ability to inspire people to engage with him socially, especially when it came to Narinder. Their conversations with Narinder were often insightful and thought-provoking, so it was a shame how little they actually conversed with each other.

They stretched their back, and in turn their claws—well, claw—before they settled back into a similar position, just no longer tensed to strike. They’d been fairly on edge since barely defeating the Green Crown, but now they could relax.

“It is inspiring though. How about piles of skulls? A bit macabre but, you like bones, don’t you?”

Narinder was swirling a liquid in a flask, but stopped to look at Kallamar. “What? They’re not—These aren’t decorations!” He stammered, confused and a bit offended. “Are you dull?”

“No, I was giving you the benefit of the doubt. What’s all this junk?

“It’s not junk.”

“The useless papers aren’t junk?”

“…some of it is junk.”

Narinder’s ears perked up at the sound of a soft ‘kh’ noise from Shamura—their equivalent of a snort. He snapped his head around to make sure they saw his annoyed look, which Shamura met with an embarrassed smile, before he turned his attention back to manufacturing his unique method of healing.

Shamura wasn’t aware that they made such a noise until they met Narinder. He had no reservations questioning them about what they found so funny whenever he heard it. Though now they could usually hear the sound when they made it, they had a hard time stifling it.

Kallamar thought for a moment, then warbled with excitement. Narinder gave him an odd look as he poured the concoction over Kallamar’s body. It had taken on the consistency of smoke, pink in color but thick like a polluted cloud. It sits for a moment before it suddenly seeps into the squids body in a blink.

“Did you acquire a stall at the market after all? You must be preparing your stock, yes? Am I right?”

Shamura’s eyebrows raised, causing their second pair of eyes to squint. Was Narinder in need of resources? Narinder’s brief hiss of annoyance made it clear that this subject was not meant to reach Shamura’s ears.

“Ah, Ah! You should let me help!” Kallamar sat up, clearly feeling better even if the color hadn’t returned to his cloak or crown.

“Why?”

“There a things I wish to buy, but I don’t have any money.”

“Oh, is Shamura finally cutting you off?” Narinder smirked.

“Yes, in fact, they did! I’m sure your petulant insistence that they were allegedly ‘spoiling�� me had everything to do with it, so it’s only fair that you help me raise funds.”

“That is not the reason why,” Shamura interjected, worried that Kallamar was missing the point. “It’s important that you know how to provide for yourself in case there comes a time that I am no longer able to.”

It was important for both their sakes, really. Shamura knew they had gotten far too comfortable with giving Kallamar whatever he asked for, they couldn’t even fully commit to cutting him off. They still fed and sheltered him, but had to force themselves to stop indulging in his more frivolous wants like jewelry and money.

Regardless of how valid the reasoning, Narinder and Kallamar scoffed in unison. For better or worse, if there was one thing that could reliably get them to agree, it was Shamura.

“If you are ever incapacitated, then we have already fallen.” Kallamar gestured dismissively.

“Likewise,” Narinder added. “It’s humorous how you pretend that this fool would not drop dead the second he could no longer suckle on your teat.”

Kallamar let out a gasp of offense.

Shamura would have liked to inquire further about the first half of Narinder’s statement. But they take far too long to choose what they felt would be the proper way to ask. Kallamar and Narinder had already bickered over the latter’s rude comment and moved past it to the next topic.

“Well, if it is not to sell, then why do you have all this stuff?”

Though Kallamar had successfully put Narinder back at the center of the conversation, he rejected the position with the finesse of a hippo on ice. Narinder stared at Kallamar, forcing his expression to be blank with limited success. There was silence as the two waited for his response.

“You seem to be missing something, Shamura.” Narinder said, abruptly changing the subject.

“Ah?” It took them a moment. “Ah, yes, yes. My claw. I… Underestimated Murmur. She ripped it clean from my body.”

“I take it you’ll be requiring my assistance to re-attach it?”

Shamura blanched, a rare demonstration of embarrassment from them that managed to surprise Narinder.

“…I… forgot to retrieve it.” They slowly said, processing the information for themselves in real time. They clear their throat. “Alas, that is my punishment for carelessness. It will be… awhile…” Their apprehension shows in their tone. “…but it will grow back in time.”

“Oh! Shamura, I didn’t even notice! When did that happen?” Kallamar gawked.

Narinder seemed upset, but Shamura couldn’t fully put together why. Was it disappointment in them? Annoyance with Kallamar? They briefly considered that he might be concerned for them, but they shooed the thought away as rather presumptuous—something Narinder often accused them of being.

Kallamar lit up at the sound of the kettle whistling. “Oh! Are you making tea? I’m parched—”

“I wasn’t.” Narinder said, a bit too quickly. “I merely forgot to remove the kettle from the fire before I went to investigate the intruders that crossed my barrier.”

“Then, Shamura, will you make me a cup of tea?”

“No, they will not. Make it yourself.”

Shamura did not understand Narinder. But, they wanted to. As much as Kallamar and Narinder postured in a way that would suggest they didn’t like each other, the two clearly understood each other, even if they didn’t always realize it.

“But I am injured still! You did not heal my arm!” Kallamar protested.

“And you have three others that are completely functional. Leave Shamura be, lazy brat.”

“Lazy? Brat?”

Before the two could launch into another petty bickering match, Shamura interjected.

“Kallamar, if you could, a round of tea before we set off would be most refreshing.” They stood with grace, their strength already beginning to replenish. “And I will prepare a snack to pair with it.” They turned their gaze to Narinder. “Consider it our thanks for allowing us to disturb you this evening.”

“Ah… Let us trade tasks. I must insist.” Kallamar bridged his fingers, a pose he often took up when he felt awkward.

“If you must busy yourself with something, then I would prefer you make the tea.” Narinder sounded exasperated as he finally took a seat, knocking an assortment of smooth stones off the coffee table as he propped his feet atop of it.

Shamura was a bit lost again, but quickly adapted. “Then tea I shall make.”

The trio fell into a comfortable silence. Shamura retrieved the kettle that had been hollering throughout the entire exchange while Kallamar sifted through Narinder’s cabinets to assemble snacks for them (mostly he and Narinder). Shamura continued to subtly snoop as they had to cross the room again.

Trying to narrow in on things that gave off some amount of arcane energy. But none of the items that stood out seemed like things Narinder simply couldn’t ask them about. Small statues, a beautifully preserved skull with a gem embedded into the forehead, a black card sporting a red mandala—

“Shamura, did you lose your sense of taste as a consequence of no longer needing to eat, or did you stop eating because you lost your sense of taste?” Narinder suddenly broke the silence, Kallamar’s scolding tone quick to follow.

“Narinder!”

[sereniesstuff]

🌟 Hi! Here's a new video with my top main menu and loading screen mods for Baldur's Gate 3 and working on Mac OS! 🌟

-----------------------------------------------------------------------

And here the list of the mods I'm using in my 🎮 :

🔗 Astralities' Hair Color Supplement

🔗 Astralities' Skintone Expansion - Natural Tones

🔗 Basket Full of Equipment. SFW version

🔗 Cute dice collection

🔗 Ellian's Hair

🔗 Ellian's heads

🔗 Ellian’s trinkets

🔗 Eyes of the Beholder

🔗 Harpy Hairs

🔗 Highlight Revised

🔗 Horns of Faerun

🔗 Long Straight Hair

🔗 New Character Creation Presets WIP

🔗 P4 Custom Eye Colours

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🔗 Shadowheart Hair Down

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🔗 Vessnelle's Hair Collection

-------------------

I also recommend these mods (which don't need you to modify the modsettings.lsx file but to just put them inside the designed folder), if you want something more immersive and practical:

🔗* Aether's Immersive UI: I'm using CombatLog, Dialogue, HotBar and PlayerPortraits

🔗* Better Maps All-In-One: I'm using Better Map 0.7 scale + Clear Map No Grid Transparent Shroud

🔗* Damage Preview

🔗* Better Character and Party Panels

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[nagaficat]

Some days pass without so much as a single gift or surprise, yet towards the end of the allotted period, should Deirdre leave her office for some reason, she will return to a box laid neatly at the foot of her door. Then, upon opening it, she will see four things: a book with a blue cover, two tins, and a carefully folded letter.

To Her Imperial Majesty, the lovely Lady Deirdre:

Herein lies my gift to you this holiday eve. First, the book: it contains a revised version of the fairytale called 'The Three Little Pigs,' where the little pigs are your children. But fear not: though the wolf in this fable is you, she is also a kind and loving mother, and together with her children builds a lovely house, with a lovely garden, and space enough for the four of them and their happiness. Ornate boxes have been drawn above the text of each page that you might fill them with pictures to your taste, and decorate the rest of the page in a manner of your choosing as well. Perhaps with the remnants of your next gift, if it so pleases you. The fairytale does not fill the whole of the book, but it was my hope in choosing it that you might supplement it with memories of your loved ones.

For in the red tin, you shall find flower seeds for the following: chrysanthemums, hydrangeas, and poinsettias, all in familiar colors. In the lavender, a blend of tea I am given to understand you enjoy.

Season's blessings upon you, Lady Deirdre.

The gift exchange is a lovely idea and Deirdre is more than eager to sign up. She does not expect much in the form of a gift for herself but that is not why she does it. It is an opportunity to find new friends and bring a smile to someone's face. Perhaps there are others, like her, who are missing the ones they love and this is a lovely chance for them to feel special.

A few days after she receives her assignment, a box waits for her outside of her office. Grinning, she brings it inside and sets it down on her desk to open. The note is opened and read first. She is not an inpatient child who might dig first for the gifts!

With each sentence, tears well up in her eyes until they finally overflow and spill down her cheeks. By the time she is able to pick up the book and look through it, she is loudly sobbing. It is perfect. With the addition of the seeds for her garden (all flowers with such happy meanings!) and her favorite lavender tea, it is clear that whomever sent this gift knows her heart.

She had been ready to try and guess who might have sent her gift but any plans she had to do so or ideas as to whom it might be are quickly forgotten. Instead, Deirdre settles herself in to read. She knows that her most desired wish--her family together, whole, and happy--is surely an impossible ask but she never would have dreamed that something would come so close.

[gigglystudent]

Mastering Microeconomics Homework: Tips for Success

Microeconomics can be a challenging subject, but with the right approach, you can excel in your assignments and truly grasp the concepts. If you're struggling with your microeconomics homework, don't worry—you're not alone. Many students face similar difficulties, but with a few strategic tips and tools, you can tackle your homework with confidence and ease.

Understanding the Basics

Before diving into complex problems, make sure you have a solid understanding of the fundamental concepts of microeconomics. This includes supply and demand, elasticity, market structures, and consumer behavior. A strong grasp of these basics will make it easier to approach more advanced topics and solve homework problems effectively.

Tip: Review your lecture notes and textbooks regularly to reinforce your understanding. If you encounter a concept that’s unclear, don’t hesitate to seek clarification from your professor or tutor.

Organize Your Study Space

A well-organized study space can significantly impact your productivity and focus. Create a dedicated area for studying that is free from distractions. Keep all your materials—textbooks, notes, calculators, and any other resources—within reach. An organized space will help you stay focused and make your study sessions more efficient.

Tip: Consider using a planner or digital tool to keep track of assignment deadlines and study schedules. This can help you manage your time more effectively and reduce stress.

Break Down the Assignment

When faced with a complex microeconomics assignment, break it down into smaller, more manageable parts. Start by reading through the entire assignment to understand the requirements. Then, divide the tasks into sections or steps. This approach will make the assignment less overwhelming and allow you to focus on one part at a time.

Tip: Create an outline of the steps you need to take to complete the assignment. This will help you stay organized and ensure that you cover all aspects of the task.

Utilize Online Resources

There are numerous online resources available that can assist you with microeconomics homework. Websites, videos, and forums can provide explanations, examples, and additional practice problems. Don’t hesitate to use these resources to supplement your learning.

Tip: When using online resources, make sure they come from reputable sources. This will ensure that the information is accurate and reliable.

Seek Help When Needed

If you find yourself struggling with a particular concept or problem, don’t be afraid to seek help. This could be from a tutor, study group, or online forums. Additionally, if you're consistently having trouble, you might consider seeking microeconomics homework help from professional services. These experts can provide valuable insights and guidance tailored to your needs.

Tip: Forming a study group with classmates can also be beneficial. Discussing and working through problems together can provide new perspectives and enhance your understanding.

Practice, Practice, Practice

Microeconomics, like many other subjects, requires practice to master. Work on additional problems beyond your homework assignments to strengthen your skills. Practice will help you become more comfortable with different types of questions and improve your problem-solving abilities.

Tip: Use practice exams or past homework problems to test your knowledge and identify areas where you may need further study.

Review and Revise

After completing your homework, take the time to review and revise your work. Check for any errors or omissions, and make sure your answers are well-organized and clearly presented. Revising your work can help you catch mistakes and improve the overall quality of your assignment.

Tip: Consider having a peer or tutor review your work before submission. A fresh set of eyes can often spot errors that you might have missed.

Stay Positive and Motivated

Maintaining a positive attitude and staying motivated can greatly influence your performance. Set realistic goals for yourself and celebrate your achievements, no matter how small. A positive mindset will help you stay focused and committed to your studies.

Tip: Set up a reward system for completing assignments or reaching study milestones. This can provide additional motivation and make the process more enjoyable.

Conclusion

Successfully completing your microeconomics homework requires a combination of understanding the basics, staying organized, utilizing resources, and practicing regularly. By following these tips, you can improve your performance and gain a deeper understanding of microeconomics. Remember, if you ever need additional assistance, don't hesitate to seek microeconomics homework help. With the right strategies and support, you can achieve academic success in this challenging subject.

source: https://www.economicshomeworkhelper.com/blog/tips-for-successfully-completing-microeconomics-homework/

[labequipmentindia1]

A Complete School Science Lab Equipments List and How to Use It

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Crayon ,wax,packs of 8 colours/BOX

Tape,adhesive,transp

Marker,flipchart,colours

Chalk,assorted colours

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Book,exercise,A4,ruled-8mm

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Users guide School in a Box Kit

Contact us School Students Kit Manufacturer,and suppliers in India, School Students Kit Manufacturer,and suppliers in South Africa.School Students Kit Suppliers in Mozambique,School Students Kit in Supplier Kenya, Southren African region, Botswana, Lesotho, Malawi, Angola, Namibia, Zambia, Zimbabwe. Djibouti, Ethiopia, Kenya, Madagascar, Mauritius, Rwanda, Seychelles, Tanzania and Uganda SLEI for your School, College Science Physics Chemistry and Biology Lab Equipments. We are the best and renowned engineering educational equipments, high school science lab equipment manufacturers, lab equipment exporters, lab equipments manufacturers, lab instruments manufacturers, mathematics lab equipments manufacturers in Ambala, India. School Student Kit Manufacturer and supplier in India.

How to use them:

Pack your school student kit the night before to ensure your child has everything they need for the day ahead.

Encourage your child to take responsibility for their kit and keep it organized throughout the school year.

Remind your child to replenish any used or low supplies regularly to avoid running out during the school day.

Where to use them:

School: Keep your school student kit in your backpack or locker for easy access during classes.

Home: Use your school student kit for homework, projects, and study sessions at home.

Extracurricular Activities: Bring essential supplies from your school student kit to sports practices, club meetings, or other after-school activities.

3. Student Kit Grades 5-8:

Middle School Must-Have: Prepare your middle schooler for academic success with our comprehensive student kit.

All-in-One Solution: Our grade 5-8 student kit includes everything your child needs to excel in their studies.

Age-appropriate Supplies: Tailored specifically for students in the 5th to 8th grades.

Convenience and Quality: Save time and money with our convenient and durable student kit.

Academic Support: Empower your child to focus on learning with the right tools at their fingertips.

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Pens

Pencils

Geometry Set

Eraser 

School bag

Contact us Student Kit Grade 5-8 Manufacturer,and suppliers in India, Student Kit Grade 5-8 Manufacturer,and suppliers in South Africa.Student Kit Grade 5-8 Suppliers in Mozambique,Student Kit Grade 5-8 in Supplier Kenya, Southren African region, Botswana, Lesotho, Malawi, Angola, Namibia, Zambia, Zimbabwe. Djibouti, Ethiopia, Kenya, Madagascar, Mauritius, Rwanda, Seychelles, Tanzania and Uganda SLEI for your School, College Science Physics Chemistry and Biology Lab Equipments. We are the best and renowned engineering educational equipments, high school science lab equipment manufacturers, lab equipment exporters, lab equipments manufacturers, lab instruments manufacturers, mathematics lab equipments manufacturers in Ambala, India. Student Kit Grade 5-8 Manufacturer and supplier in India.

How to use them:

Set up a designated study area at home, stocked with supplies from your student kit, to promote productivity and focus.

Encourage your child to keep their student kit organized by using labeled containers or compartments.

Utilize the resources in the student kit to complete homework assignments, projects, and study for exams effectively.

Where to use them:

School: Bring your grade 5-8 student kit to classes for note-taking, studying, and completing assignments.

Library: Use your student kit supplies for research projects or quiet study sessions at the library.

Home: Keep your student kit readily available at home for homework, studying, and additional academic support.

4. Student Kit Grade 1-4:

Elementary School Essentials: Give your young learner a head start with our grade 1-4 student kit.

Learning Made Fun: Our student kit includes age-appropriate supplies to engage and inspire young minds.

Educational Tools: Equip your child with the tools they need to succeed in the early grades.

Parent-Approved: Trusted by parents and educators for quality and reliability.

Encourage Independence: Foster independence and responsibility with a personalized student kit for your child.

Pens

Coloring Pencils

Geometry Set

Eraser 

Slate

Ruler

School bag

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Contact us Student Kit Grade 1-4 Manufacturer,and suppliers in India, Student Kit Grade 1-4 Manufacturer,and suppliers in South Africa.Student Kit Grade 1-4 Suppliers in Mozambique,Student Kit Grade 1-4 in Supplier Kenya, Southren African region, Botswana, Lesotho, Malawi, Angola, Namibia, Zambia, Zimbabwe. Djibouti, Ethiopia, Kenya, Madagascar, Mauritius, Rwanda, Seychelles, Tanzania and Uganda SLEI for your School, College Science Physics Chemistry and Biology Lab Equipments. We are the best and renowned engineering educational equipments, high school science lab equipment manufacturers, lab equipment exporters, lab equipments manufacturers, lab instruments manufacturers, mathematics lab equipments manufacturers in Ambala, India. Student Kit Grade 1-4 Manufacturer and supplier in India.

How to use them:

Create a designated study area at home, stocked with supplies from your student kit, to establish good study habits.

Involve your child in organizing their student kit to promote ownership and responsibility.

Use the resources in the student kit to reinforce lessons learned in school and encourage further exploration and learning.

Where to use them:

School: Bring your grade 1-4 student kit to school for classroom activities, assignments, and projects.

Home: Utilize your student kit supplies for homework assignments, reading practice, and educational games at home.

Tutoring Sessions: Bring your student kit to tutoring sessions for additional support and practice with academic concepts.

5. Childhood ECD Kit:

Early Childhood Development Essentials: Support your child's growth and development with our ECD kit.

Playful Learning: Our kit includes toys and activities designed to stimulate cognitive, social, and motor skills.

Parent-Child Bonding: Strengthen the parent-child bond through interactive play and learning activities.

Holistic Approach: Our ECD kit promotes learning through exploration, creativity, and hands-on experiences.

Trusted by Experts: Recommended by early childhood educators and development specialists.

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Book, children's, cardboard

Memory Game, card/BOX 

Shape-sorter

Dominoes, plastic, color

Sort & Stack Set, plastic

Puzzle Blocks,6 sides

Board Puzzle, 4-8 pcs w/out pegs

Jigsaw Puzzle

Counting Circle, wood

Puppet, finger, diff characters

Crayon, wax

Drawing pad, white

Glue

Marker

Model Clay

ECD Activity guide

Contact us Childhood ECD Kit Manufacturer,and suppliers in India, Childhood ECD Kit Manufacturer,and suppliers in South Africa.Childhood ECD Kit Suppliers in Mozambique,Childhood ECD Kit in Supplier Kenya, Southren African region, Botswana, Lesotho, Malawi, Angola, Namibia, Zambia, Zimbabwe. Djibouti, Ethiopia, Kenya, Madagascar, Mauritius, Rwanda, Seychelles, Tanzania and Uganda SLEI for your School, College Science Physics Chemistry and Biology Lab Equipments. We are the best and renowned engineering educational equipments, high school science lab equipment manufacturers, lab equipment exporters, lab equipments manufacturers, lab instruments manufacturers, mathematics lab equipments manufacturers in Ambala, India. Childhood ECD Kit Manufacturer and supplier in India.

How to use them:

Set aside dedicated time each day for parent-child interaction using activities and toys from the ECD kit.

Follow your child's lead during playtime, allowing them to explore and discover at their own pace.

Use the resources in the ECD kit to facilitate learning opportunities that align with your child's interests and developmental stage.

Where to use them:

Home: Create a nurturing environment at home for parent-child bonding and interactive play using the ECD kit.

Daycare or Preschool: Share the ECD kit with caregivers or educators to incorporate into your child's daily routine at daycare or preschool.

Playdates: Bring out the ECD kit during playdates with other children to encourage social interaction and cooperative play.

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How to Prepare for Bank Exams

In the world of competitive exams, bank exams stand out as crucial gateways to lucrative careers in the banking sector. Whether you're aiming for positions in public sector banks or private ones, the preparation journey remains daunting yet rewarding. So, if you're eyeing that coveted bank job, it's time to buckle up and strategize your study plan for the upcoming bank exam.

Understand the Exam Pattern of bank exams

Before diving into preparation, it's imperative to comprehend the exam pattern thoroughly. Bank exams typically include sections on quantitative aptitude, reasoning ability, English language, general awareness, and computer knowledge. Understanding the weightage of each section and the types of questions asked will help you tailor your preparation strategy accordingly.

Create a Study Schedule to crack bank exams

Consistency is key when it comes to preparing for bank exams. Craft a realistic study schedule that allocates sufficient time to cover all sections of the exam. Break down your study sessions into manageable chunks and set specific goals for each study session. Remember to include regular revisions and mock tests in your schedule to track your progress effectively.

Gather Quality Study Materials for bank exams

Invest in reliable study material that covers the entire syllabus comprehensively. You can opt for books authored by renowned educators or enroll in reputable online courses that offer structured learning modules. Additionally, make use of online resources such as practice papers, previous year's question papers, and educational websites to supplement your preparation.

Focus on Conceptual Clarity to crack the bank exams

Instead of rote memorization, strive for conceptual clarity in every topic. Understand the underlying principles and fundamental concepts behind mathematical problems, reasoning puzzles, and grammar rules. This approach not only helps in solving diverse question types but also enhances retention and problem-solving abilities.

Practice Regularly to pass the bank exams

The adage "practice makes perfect" holds true, especially in the case of bank exams. Dedicate ample time to practice questions from each section daily. Start with basic-level questions and gradually progress to more complex ones. Regular practice not only hones your skills but also boosts your confidence to tackle any question thrown at you during the exam.

Stay Updated with Current Affairs for the Bank Exams

General awareness is a crucial section in most bank exams. Stay abreast of current affairs by reading newspapers, magazines, and online portals regularly. Make notes of important events, government schemes, economic developments, and banking terminology. Additionally, participate in online quizzes and discussions to reinforce your knowledge.

Mock Tests and Analysis for Bank Exams

Mock tests serve as a litmus test for your preparation level. Take full-length mock tests regularly to simulate the exam environment and assess your performance. Analyze your strengths and weaknesses after each mock test to identify areas that need improvement. Focus on improving your time management skills and accuracy levels to ace the actual exam.

Maintain a Healthy Lifestyle during Bank Exams

Last but not least, prioritize your physical and mental well-being during the preparation phase. Get an adequate amount of sleep, eat healthily, and engage in regular exercise to keep your mind and body in top condition. Avoid burnout by taking short breaks between study sessions and indulging in recreational activities that help alleviate stress.

How to crack bank exams in 2024? - Best Study notes

In conclusion, preparing for bank exams requires meticulous planning, unwavering dedication, and consistent effort. By following the aforementioned tips and staying focused on your goal, you can navigate through the challenges and emerge victorious in the competitive world of bank exams. So, roll up your sleeves, embrace the journey, and embark on the path to a rewarding banking career with confidence and determination. Happy studying!

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[anarkhebringer]

i might have stumbled across an old post but i saw smthg from you about fe3h felix as a wheelchair user and i would be so interested to hear more of your ideas abt that!! im a wheelchair user and recruited felix for my first playthrough and it is so exciting to imagine someone like him possibly being like me, if you’re still interested in the AU?

Hi there, I'm glad someone is interested in that AU for him! I'll describe the wheelchair aspects before I go into the AU itself. It's a bit long so I'll put it under a cut.

He was injured in battle during the Academy, and lost the function of his legs because of the nerve damage his back took, but you'd be wrong if you thought that was the end of his career in battle.

I'd actually been thinking on how to enhance it while he was in battle, and I was thinking not only spikes in the wheels, but him actually working with some mages to give it the ability to shoot fire magic for ranged attacking from possible blind spots. He basically had magic guns attached on the back too, so he could not only use his swords to attack, but supplement where he couldn't with the chair itself.

I'm still revising the design of the chair though, but this series isn't fully historically accurate and it's a high fantasy setting anyways, so I can get a little creative without fretting over every nook and cranny of the chair as long as it functions as it should I think jiuofid

The AU itself is basically just him being briefly possessed by some elder god after he gets turned into a vampire and defeats them in battle, it completely traumatizes him and changes his outlook on life because he saw mortality from a pessimistic god's perspective (hence the dead look in his eyes and darker color to them), and now he tends to live his life day by day in his manor in quiet contentment as he recovers. He still does have the fire for battle and is more powerful than ever before, but he's a LOT quieter about it thanks to being a diet deity now (further details on that are still being fleshed out).

Oh and as a bonus Claude is shipped with him in this AU, and eventually becomes a werewolf after Felix tempts him with that "supernatural allure" so to say (AKA told him "I've heard about ways you can harness the power of lycantrhopy if you're interested" and he was indeed interested)