#Understanding Basic Investing Principles

[kc22invesmentsblog]

Unlocking Financial Success: Enhancing Financial Literacy for Better Money Decisions

Written by Delvin In today’s complex financial landscape, it is imperative for individuals to possess a solid foundation of financial literacy. By improving their financial knowledge and understanding, individuals can make better money-related decisions, secure their financial future, and achieve their goals. In this blog post, we will explore actionable steps that can empower individuals to…

[imsobadatnicknames2]

hi so ive been interested in designing my own ttrpg lately, and a big part of that is simply becoming familiar with extant ttrpgs and their genres. so i come to you to ask for good introductions (not necessarily to play, but to read) to the dungeon crawling genre. like, ones which sort of make clear what exactly dungeon crawling is, and what the appeal of it is.

Ok well! This is an interesting ask!

Before I make any recommendation, I'll just say that in my personal opinion, a good dungeon-crawler includes all or most of the following elements:

Emphasis on resource management, the PCs' resources should be always dwindling in a way that makes the choice to retreat vs. push forward a meaningful one

Emphasis on attention to detail and environment interaction, as well as resourceful and creative usage of the tools at the PCs' disposal to overcome challenges with no predefined solution.

Mechanics that disincentive combat as the default outcome of every encounter (such as high lethality, no guarantee of "balanced" encounters, significant time and/or resource investment required to recover from damage taken during a fight, etc.) The decision to engage in combat should not be the default assumption whenever a creature is encountered, it should be one that always carries significant risks and potential consequences, ideally incentivizing players to find creative or resourceful ways to bypass combat situations through stealth, deception, parlay, fleeing, etc., and only engage in it when they think exposing themselves to those consequences is justified or the only option (or when they've found an ingenious way to tip the scales in their favor).

A reward structure that encourages players to explore and interact with the environment, such as the classic Gold For XP rule that encourages players to search every nook and cranny for any bit of hidden treasure.

Systems that encourage an open-ended structure with no pre-defined GM-authored narrative.

That's just my opinion though. I think that a bit essential reading for your purposes would be any of the D&D editions from when the main focus of the game was still dungeon-crawling rather than grand epic high fantasy adventures. I recommend reading the Basic booklet from the 1981 Basic/Expert set, which is probably the D&D edition that has had the most explicit influence over the modern dungeon-crawling revival (B/X retroclones are basically their own entire subgenre of the OSR). Old-school D&D is just a good starting point to understand a lot of the basic elements and base assumptions that later dungeon-crawlers are, in some way or another, in conversation with. But like. D&D's legacy looms so large here that this recommendation was probably already a given.

While it isn't a game, but rather a primer formatted as a collection of Player and GM principles, I would also say that the Principia Apocrypha is also pretty much required reading, as it's IMO the clearest distillation of the play culture that modern OSR and OSR-adjacent dungeon-crawlers are try to incentivize.

I think it's also an example of something I find interesting about the OSR and its associated play culture: as @thydungeongal (I think it was her, at least) put it once, as much as the OSR community claims to be getting back to the roots of the hobby, much of its play culture is actually an exercise in historical revisionism. The play culture espoused by the OSR community isn't really a faithful recreation of the play culture that actually existed around dungeon games back in the day, but more like. an attempt to reverse-engineer a play culture that's actually compatible with the mechanics and assumptions of old-school dungeon games. And I think the Principia Apocrypha is a wonderful and clear distillation of this reverse-engineered play culture.

As for my actual recommendations now:

Mausritter by Isaac Williams, I know I'm always recommending Mausritter every time I get the chance but like. I don't only recommend it because it's my favorite game, but because it's extremely approachable regardless of your previous level of familiarity with tabletop rpgs (probably one of the best possible introductory games to the hobby) AND it does a lot of stuff that is relevant here.

First of all, despite the fact that it doesn't explicitly refer to its adventure locations as "dungeons" or use the term "dungeon-crawling" or related, it *is* very much a dungeon game, and explicitly spells out the gameplay loop and setting assumptions of dungeon games: the world is dangerous, settlements are small, rare, and usually their stability is threatened in some way, and you play as one of the few people who are willing to brave the dangerous outside world to find riches to bring back to the safety of a settlement (it's trivially easy to point out the ways in which this setup has the potential for a lot of #unsavory ideological implications, but it *is* the standar dungeon game setup and it *does* make for a compelling gameplay loop). It also explicitly spells out a lot of the principles that support my ideas for what makes a good dungeon crawler. For example, I like how it explicitly encourages players to be resourceful by straight-up telling them that relying on dice-rolls is dangerous, that dice rolls can be avoided with preparation and resourcefulness, as actions that you attempt with a good plan or the right tools automatically succeed without a roll, and thus the most optimal way to play is one where you minimize or completely eliminate the necessity to roll dice through clever planning and use of the tools at your disposal.

I also really like how it leans into the resource management aspect by tying so many of its mechanics to inventory management. Like. Its cars-based physical inventory is cute and distinctive and intuitive:

But it also clearly has to exist because shuffling items around in your inventory is such a load-bearing mechanic for many of its systems. Like, inventory is extremely limited (you have two paw slots, two body slots, and six slots in your backpack, that's all the items you can carry, and being completely encumbered gives you disadvantage on every roll), which of course limits the tools and resources you can bring into a dungeon, but also:

The only source of XP in the game is treasure: the XP you get is equal to the value in pips (the mouse kingdoms' standard currency) of any treasure that you bring back from a dungeon to a settlement. This means you need to balance making sure you bring any gear you'll need with making sure you leave yourself enough free inventory space to be able to carry any treasure you find.

Negative conditions take up an inventory slot each, which makes them especially dangerous and hard to ignore, as getting hit with a negative condition might mean having to leave some of your items or treasure behind.

Spells are physical items in your inventory, and you need to be holding them in your paw in order to cast them. This means that not only the space you dedicate to spells in your inventory is an important choice, but also WHERE you put them in your inventory (items in your body slots are assumed to be strapped to your upper body and may be freely swapped to your hands at any point, but items in your pack slots require an action to retrieve).

A common argument against the kind of resource management centered in this type of dungeon-crawling gameplay is that inventory management is boring and tedious, but Mausritter shows how much well-exevuted inventory management adds to this gameplay style. It not only makes keeping track of inventory fun and effortless, but also explicitly turns it into an extremely engaging source of tension and challenge by tying it to as many of its systems as possible.

There's a lot else I could say about Mausritter (like how much I like its damage system, which is very effective at having longer-term consequences for getting hurt in co.bat beyond HP loss without being too very punishing, how much I like the faction system, how good its GM toolkit is, etc.) but let's move on.

Dungeon Crawl Classics by Goodman Games is a game I kinda slept on for a long while, because as far as I knew it was mostly an AD&D clone with an admittedly cool artste that evokes the more pulpy illustrations of 80's D&D with a bit of a grimier feel to it. But after checking it out, it's a very unique game that leans very hard on the strange, chaotic, pulpy gonzo side of dungeon-crawling. The most distinctive feature of DCC is its heavy use of an absurd amount of random tables. While this can be a bit cumbersome to be quite honest, the randomness inherent to the system and the sheer number of strange and absurd table results do a phenomenal job of Putting The PCs in A Situation™ in a way that requires them to be constantly on their toes. It's just a lot of (extremely chaotic, extremely lethal) fun, as the players can never know what to expect and they can easily be thrown into disarray at a moment's notice and have to think on their feet. Definitely not for everyone but it's very interesting nonetheless.

DCC is also responsible for creating the concept of the level 0 funnel adventure (or at the very least popularizing, not sure if any other game did it before but DCC definitely was the game that brought attention to it): the game starts with a big group of level 0 characters, with the understanding that their first adventure will serve as a meatgrinder in which most of them will inevitably die (which is why each player starts off controlling up to 4 characters). Only the ones that survive their first adventure get to advance to level 1 and pick a character class to become full-fledged adventurers. Starting off controlling several characters with the assumption that most of them will not survive long into their first adventure is an extremely heavy-handed but very effective way of establishing the tone of high lethality I mentioned before, which is an essential tool for forcing players to find ways to deal with encounters other than immediately charging into combat.

Knave 2e by Ben Milton is a pretty solid D&D-adjacent dungeon crawler with enough cool features to mechanically stand apart as its own thing (such as the fact that the system is designed to effortlessly convert any GM-facing roll into a player-facing roll if desired, and some relatively unique character generation procedures) while still preserving compatibility with most D&D adventures, which is really cool. It has very clear and streamlined procedures for dungeon and wilderness exploration, it makes extensive use of tons of random tables for nearly everything you might need to generate on the fly (although not to the same degree as DCC, nor anywhere near as chaotic), it's a very cool implementation of a classless system where PCs are mostly defined by their inventory, and a lot of other good stuff. However, none of these are the reason I bring it up. The reasons I recommend it for your purposes here are:

1) Its magic system is really emblematic of what I said about emphasizing resourcefulness and creative use of your resources. Knave has a pretty sizable spell list (as well as tables for randomly generating even more spells), but if you start with a spell, you have no control over what spell it is, and. more importantly: Knave 2e doesn't have any spells explicitly meant for combat. There aren't any spells in the game that have the effect of directly causing damage to a creature. This, along with the fact that the spell(s) you start with are random, means that players are incentivized to apply their spells creatively, both in and out of combat. Because the thing is: magic *does* have the potential to be used for combat, but doing so requires a great deal of creative lateral thinking on how to apply it.

And, most importantly, 2) Knave is a game that's very upfront and explicit about what its best practices and design goals are. Not only does it have clearly spelled out GM and Player principles that are very clear about its intended playstyle and what is expected of GMs and players in order to have the intended experience, but the last section of the book also features designer's commentary about pretty much every mechanic and feature of the game, explaining what its purpose is, why it works the way it does, and what its influences and inspirations are, which I think is particularly useful for your case.

Shadowdark by Kelsey Dionne is one that I don't have as much to say about. It's a game built on the skeleton of 5e but massively stripped down and trying to replicate the spirit and gameplay style of old-school dungeon-crawlers. For the most part it's a solid but pretty standard "old-school style game but with modern quality-of-life improvements", but what I find remarkable about it is how it emphasizes an aspect of dungeon-crawling that's often overlook or handwaved: light and dark. Not only can characters not see in the dark, but also being in the dark gives disadvantage on every roll, which makes it appropriately dangerous and oppressive. But the most unique thing about it is the fact that light sources run on a real-time one-hour timer, and the book encourages the GM to constantly threaten the party's light source with environmental effects and whatnot, which makes darkness a much more pressing danger, It also incorporates an optional DCC-style funnel adventure mode, as well as a ton of optional game modes which modify certain rules (such as shorter light source timers and a ton of other stuff), which is pretty neat.

This one's probably the most different out of the bunch I'm going to mention, but... Dungeon Bitches by @cavegirlpoems is a very interesting example of taking the core conceits of the premise of a dungeon-crawler and using them to produce a queer narrative about trauma, centering queer women (especially trans women). In terms of mechanics it's very different from all the other ones i've mentioned because it's a Powered By the Apocalypse game, but it still goes out of its way to incorporate a lot of the principles of OSR play, just on a different mechanical chassis. In terms of its queer themes, Dungeon Bitches is a game that asks the question "what kind of person would actually end up having to do this for a living?" and concludes that the kind of people who would end up gravitating to dungeon-crawling as a career would be the most marginalized, the people who have no place for them in polite society. As explained on the original post from 2020 on cavegirl's blogspot:

Here's the pitch. A faux-medieval gritty fantasy setting with all your standard crap hetero-patriarchal assumptions. Political marriages, dowries, etc etc. Not the best society to be a queer girl in. Luckily, if the thought of getting married off and having to pretend like you're happy with that is too much for you, there are two options.

-You can run away and join a nunnery. This is slightly more socially acceptable, much less likely to get you killed, but will also result in living a life defined by limitations and restrictions.

-You can run away, join a band of similar (heavily armed) bitches, and make a living as mercenaries, tomb-robbers and adventurers. This is far less socially acceptable, and far more dangerous, but you might get rich, fall in love, and be able to wreak terrible vengeance on the society that wronged you.

So... yeah. It's an excellent game imo and one that leverages and recontextualizes the core assumptions of the genre for a very different purpose in a really cool way.

Lastly, for a game that boils dungeon crawling almost completely down to its bare essentials, check out bastards. by Micah Anderson. It has a lot of the elements of a lot of the games I mentioned above, but distilled down to their bare essence both in terms of mechanics and in terms of how they're described, at the cost of presuming a high level of prior familiarity with the ttrpgs and the assumptions of the dungeon-crawler genre. I just like how stylish it is and how flavorful it manages to be with so little.

Some other games that I think you should check out but I can't really write about here, either because the cool stuff they do is similar to games I already mentioned but executed in a different way, because I don't have that much interesting commentary about them, or because I haven't read them myself and my awareness of their cool features is all secondhand so I can't rlly vouch for it:

DURF by Emiel Boven

.dungeon by Snow

Songbirds 3e by Snow

The Black Hack by David Black

Torchbearer by Thor Olavsurd and Luke Crane

Troika by the Melsonian Arts Council

Tunnel Goons by Higland Paranormal Society

Cairn by Yochai Gal

a dungeon game by Chris Bisette

[dangermousie]

I was pondering why my sudden and abrupt loss of fixation on The Glory - it's still solidly made and I still plan to finish it, but urge to watch eps as they air, emotional investment and scouring for previews are poof - evaporated. I am four eps behind and counting!

In some small part it's because of A Moment But Forever, whose type of set up (a powerful woman decides to protect a beautiful, mistreated man) is tailor-made to my preferences in a way it's hard to compete with.

But that's not really it because I've been obsessed with more than one airing drama at a time (remember the glorious days of Shen Li, Burning Flames and In Blossom airing AT ONCE?!)

I think because right around after the mom died, I realized the story it's telling and the story I wanted are not the same.

I wanted a protag getting revenge but also falling in love and thawing towards the person she loves but also a small portion of the world. I wanted growth into care and gentleness and principles, at least towards small subset of people, for both the mains.

But I realized that the two protagonists (and most any major character in this drama) would always be monsters and perhaps get worse and will never truly care for each other (let alone other people, except for ML for his kid and mom). There will be no character growth. And that's realistic but I like watching damaged people heal or perhaps bad peeps getting worse - it's not that it's not realistic to have no character growth but characters being static without specific other tropes I go for (bad guy infinitely soft for one person, etc), doesn't hold my attention.

To sum up: the mains are monsters, they will always remain so, they will never put each other first or even second, there is sexual attraction and compatibility but neither would understand genuine love if it bit them, he's a slippery torturer and she's an unhinged bitch and basically - it's well made but it's hard for me to be emotionally invested in that. I need SOMEONE to root for but all of these people in the narrative are snakes and it's a question of gradation.

PS It doesn't help that the main current driver of her vengeance is alien to me on an emotional level. It makes sense her mother was unhinged with her life and it makes sense why FL loved her obsessively anyway but I as a viewer loathed the old bat and so watching FL go insane on her revenge path - I get why she's like that on a logical level but since myself I am going "ding dong the witch is dead," it's hard to sympathize on an emotional one.

[darlingofdots]

once again three cheers for Will Laurence parenting superior-officering Emily Roland under truly the wildest of circumstances for like 7 years and doing such a fantastic job of it. He was basically her primary caregiver from age 9 to 16 and no matter how she might gripe, he took his job so seriously and you can tell she appreciates it! She runs away from her official posting during the Invasion to come serve under him again because he treated her with respect and gave her responsibilities suited to her skills, and also he has modelled a set of principles that she clearly understands and agrees with even when she thinks he's going about it wrong. And she is so fully On His Side anyway, she's so righteously outraged on his behalf when people disrespect him, and like. that man is not her father but he is her dad. That night when she was 9 years old and afraid for her mother and Excidium and he was so gentle with her is so emblematic of his attitude to his "young gentlemen" in my opinion; he is firm and professional at all times but he pays attention, he knows his people's backgrounds and families and he is so invested in giving them the best possible chance at success, and it's clear to me that people respond to that! including the terrible teenagers he accidentally got roped into raising

[alexanderwales]

I finished the rest of Save the Cat almost in a single sitting, not because it was particularly riveting, but because I had time to kill, so this pseudo-liveblog is at an end.

Chapter 6 and 7 are basically the same, collections of small tricks and tips. Neither of them are terribly helpful, and all the tricks have terrible shorthand names like "Pope in a Pool". There's very little in the way of any thematic cohesion to these bits of advice, and no grand theory of the Laws of Storytelling emerges, in spite of the laws being invoked a number of times.

The advice itself is, I think, generally good:

give the reader something to root for early on to kickstart investment

spice up exposition with something entertaining

only one kind of magic per plot

don't tell a story that requires too much setup

don't tell a story with too many moving parts

include a ticking clock

have character arcs

keep the scope limited to the characters we care about

make the hero proactive

show, don't tell

make the bad guy very bad

the plot should go faster the further in it goes

use the whole spectrum of emotion

make sure each character has a distinct voice

make sure desires are "primal"

give characters something that makes them stand out

I don't endorse this whole list, and I especially don't endorse the way that Blake Snyder talks about them or the examples that he gives. And if I endorsed the list, then I would include a lot of caveats, and some general principles of storytelling that should be followed, rather than these specific pieces of advice, which are all conditional. Like ... okay, here's an example:

Exposition is a broccoli that the audience doesn't want to eat. There are very different ways of dealing with this, but we can start with "minimize exposition" as the first "law" of storytelling, and from there, we have different strategies:

Spruce up the exposition, making it into a mini-story, delivered in an entertaining way, so that people aren't bored.

Run something alongside the exposition so that people aren't bored, like sight gags in a comedy or an action scene in a thriller.

Have the exposition delivered through implication and clues, rather than stated outright, like having a character limp rather than explaining to the audience that they were wounded in the war. This is show, don't tell, and it's harder than it seems.

But while Snyder lays out some of this advice, it's all in different sections even though it's dealing with the same fundamental problem, and I'm not sure that he really understands that. If he does understand it, then he's not making that clear for the reader.

My thesis is that to understand storytelling, you want to understand root issues and classes of solutions. I have not written a book on writing, nor do I think there's a market for that, nor do I think I'm qualified, but it's the kind of thing that I would strive to deliver. There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?

But Snyder makes basically no attempt to put even very related problems together, it's just little bits of advice to gnaw at the most common problems, and ... maybe that's fine, but it felt lazy to me.

Chapter 8 was the final chapter, and was mostly about trying to sell screenplays. This was irrelevant to me, but kind of interesting, and also made me feel like Blake Snyder is a better marketer and salesman than a screenwriter, and also maybe just got lucky to be working at a time when scripts were getting huge bidding wars for no good reason. The efficient market hypothesis gets clowned on again, I guess.

I'll probably write up some overall thoughts, a short review: I think I am unsuited to liveblogging because I go long. But the even shorter version is that I think I picked up a few things that were interesting to think about, and while Blake Snyder is a hack, he's an entertaining writer.

[pistatsia]

All or Nothing: Noel Noa (ft. Jinpachi Ego)

(note that this analysis contains heavy spoilers for Noa's motives in my Big little dramas fic)

What I really like about Noa is that his character, with his questionable coaching decisions and personality... Actually very evidently grows from his backstory.

We only know a few things for sure about Noa's background before Blue Lock: he grew up in the slums of Paris, where he invested all of himself to get out of that hole, he's ex-boyfriend rival of Jinpachi Ego, with whom they diverge in their ideologies and approaches to the striker's game, and he's the idol of little (and adult) Isagi Yoichi due to the fact that he plays rough and focuses on his success rather than his teammates.

On top of that, we also know that Noa was probably forced into Blue Lock. Most likely, the club management put him in front of the fact that you was specifically requested by your ex rival, so go and shine with your face on a TV show. Oh, and bring along our resident bouquet of personality disorders, code-named kainess. Noa certainly doesn't want to show off for the camera like Lavinho or Chris, doesn't want to raise the next generation of players to avoid his mistakes like Snuffy, and certainly isn't looking for friends/good play/rivals like Loki (who only came to the top 5 to evaluate the level of Blue Lock players according to his own words). Even if he'd wanted to see the sprouts of Ego's theory I doubt that he will apply for the participating in Blue Lock voluntary.

Because Noa doesn't really care. This whole mess is just out of his field of interest. Outside of the games we only see him sitting in his room staring endlessly at screens and drinking coffee.

But it's from this that we see that Noa, despite his very... die-or-die method of building a game on the field, is a responsible player and coach. He may not want to mess around with kids in front of the world, but if he took the job, he'll do it. But he will do it exactly the way he demands of himself - no more, no less. Noa is neither cruel nor kind - he doesn't go beyond what his contract asks of him and his principles.

Slightly off-topic, I'd say that's the exact difference between Noa and Ego. No one would accuse Noa of conscious cruelty: he acts within his system, which he has explained to the children in advance, and if they fail it is only their fault for failing to adjust to it. He is simply doing his job - nothing more, nothing less.

Ego, in his turn? He chooses to be cruel even in the system he have built himself. Not because it somehow motivates the children, but because he can. And in doing so, Ego doesn't hate them - he probably doesn't care about any of them. He hates in them a part of the player he once was - the player who lost either to Noel Noa or the entire football world. If not to the both at once.

But even so, it seems odd for the manga to highlight their rivalry. It's not that only very few people have different ways of dealing with children. A lot of people are losing ugly to each other.

But this work with kids is the main root of their rivalry. Because the basics of their motto, their starting point of football, the way they guide children to the game are diametrically opposed.

Because the key point of Ego theory is that the striker is created by a moment of chaos. A moment that cannot be directed - that can only be pushed towards.

Except that for Noa a player hoping for a miracle and not knowing something is nothing. He will never allow that in his team - his whole game, his team and his life is one big formula with coefficients chosen once, like a neural network.

Both of them live as a part of the all-or-nothing game. Except that while Ego plays this game with emotion and involvement, Noa approaches it as logically as possible.

And only Isagi Yoichi can resolve this decades-long conflict.

Now let's go back to Noa's game, to understand why logic is that important to Noa and the player's emotions are insignificant and even get in the way.

Remember exactly how he plays on the pitch. He never comes out to play first like other master strikers. He chooses the midfield position to support the player of his choice - he doesn't steal their shine in the center of attack. He only scores a goal once too, in the first match - the rest of the time he blocks other master strikers in an effort to ensure the kids can play fair.

And that's probably why he openly mocks both Lavinho and Chris with his dry jokes about narcissists and "kids without the proper adult". But he's especially harsh on Snuffy, angrily mocking him for being bitten by "his own dog", bringing back the "don't make my job harder than it needs to be" line. But why does Snuffy deserve this treatment (not taking into account the way Snuffy himself ridicules Noa)?

Because Noa is disgusted with his approach to teaching.

In fact, it's their approaches in the Blue Lock cut that are most opposed, and yet turned on to the max. While Snuffy has gone so far as to give each player an individual program and plan in his strategies, Noa has let things slide, making his stratum a mini version of the Hunger Games. Noa is angry that Snuffy babysits his kids; he's angry at how involved he is in their lives, how Snuffy swirls around them, and how Snuffy is always there to help and support them.

Because Noa is a "give a hungry man a fish and he'll eat for a day, teach him to fish and he'll eat for a lifetime" kind of guy. Except that he won't even teach them voluntarily. Players need to get the right advice from him themselves while framing the question correctly. 

Noa's policy is non-interference.

Because he knows from experience that it's the only way kids grow up strong. From his own experience.

And to fully dive in, let's remember another moment from the manga that characterizes Noa the most. His advice to Isagi.

"Dedicate every hour, moment, second of your life to a goal. Don't think irrationally. Get your thoughts in order. I don't pick irrational people for the team. Dedicate your whole self to the goal."

Pretty cool, huh? Blossoms with potential burnout, a life on automatic, and a complete loss of feeling.

You know what I'm getting at? That's exactly the lifestyle Noa lives with. And he doesn't see anything wrong with advising Isagi to do it. He doesn't get annoyed by people's taunts about him being a machine and incapable of feeling. That's probably what he wanted.

Because Noa himself grew up completely dedicated to a goal, switching off all his feelings and without mentorship, and it made him who he is now. And it's rational for him to follow the same path with his kids.

Because feelings are illogical. They're weird, they're scary, they're very hard to predict. They're exhausting, they make you turn back to the past and wait for the future with hopes that may not be fulfilled later. They take your strength, they hurt and they wound very sharply. They make you weak, they make you vulnerable - they make you a helpless child.

Living without them is so much easier.

(If you remember my analysis on Isagi, you can see how similar he and Noa are.)

In psychology this mode is called "detached protector". Its essence is that the child or adult turns off all their feelings to avoid punishment and focus on survival. 

They switch off all emotions. They cut off all emotional ties with loved ones, family and friends, seeing them more as objects. They can only work endlessly.

They function like a robot.

This mode is triggered when a person cuts off all their emotional needs, like an automaton focusing on one single goal.

In Noa's case? His survival. And that's exactly what Ego is talking about - that young Noa, obviously emotionally deprived, put all of himself into football because he had nothing else but it. 

And judging by Noa today, having cut off those needs as a child, he doesn't see the point in experiencing them again. Noa doesn't smile, he doesn't get upset or frustrated. He doesn't get angry or regretful. Of course, mentally stable people can express their emotions weakly too - and even on a level like Noa.

But we're in a football manga. Football is all about emotion.

And the fact that Noa doesn't visually show the joy or at least the satisfaction of a goal or a victory - of the life that little Noa once strived so hard to live, investing all of himself - is just awful.

Of course, Noa has feelings, just like any other person. After all, he is a living being. Except they're either quite faint (because strong emotions = danger and weakness), or he crushes them as soon as he feels them coming on.

Noa's whole life is an endless race to stay where he is.

Because Noa has learned to survive. Of course, he did.

But Noa didn't learn how to live.

[binastazya]

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The mixing method is equally important. There's a specific order for adding ingredients that ensures everything comes together beautifully. This isn't just about following steps – it's about understanding why each step matters.

A Rich Cultural Heritage Worth Preserving

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What started as a luxury item for the wealthy gradually became a beloved staple in home kitchens. The recipe evolved through generations, with each family adding their own special touches while maintaining the core elements that make it so distinctive.

Regional Variations and Modern Adaptations

Different regions developed their own interpretations over time:

• Mountain communities added local herbs and spices • Coastal areas incorporated seafood elements • Urban centers created more refined, elegant versions • Rural families kept to simpler, more rustic preparations

Tips for Success in Your Kitchen

Creating the perfect manjaro at home doesn't require professional training, but it does benefit from understanding a few key principles. The environment in your kitchen matters more than you might think.

Humidity levels can affect how your ingredients behave. On particularly humid days, you might need to adjust your technique slightly to compensate for the extra moisture in the air.

Essential Equipment You Probably Already Have

You don't need to invest in expensive gadgets to succeed with this recipe:

• A reliable mixing bowl (size matters here) • Proper measuring tools for accuracy • A good thermometer for temperature control • Quality storage containers for the finished product

Making It Your Own

Once you've mastered the basic technique, there's plenty of room for creativity. Some home cooks like to experiment with different types of pink salt from various regions, each bringing its own subtle flavor profile to the finished product.

The beauty of any homemade recipe is that it becomes uniquely yours through practice and personalization. Don't be afraid to make small adjustments based on your family's preferences.

Start with the traditional approach, then gradually introduce your own creative touches. This is how culinary traditions continue to evolve while maintaining their authentic roots.

Remember, the best recipes are the ones that bring people together around the table, creating memories that last long after the last bite is savored.

[theunsinkableship1]

Something is rotten in Lukolaland

⚠️DISCLAIMER: This is LUKOLALAND only. Skip this if you're not a shipper. This is only my point of view. No harm intended.

This isn’t the post I planned to share today, but I feel compelled to address the rising negativity within our fandom. Recently, I’ve noticed an increase in hate, and I’ve even been accused of encouraging extreme fan behavior, which is far from what I stand for.

Many outside our community are quick to label us as “crazy” simply because we ship real-life actors, and if I can understand their concerns in some ways, this hostility is not entirely deserved and it has pushed many of our own to withdraw from what was a fun and loving space. It’s also disheartening to see so much infighting, and I want to firmly condemn this behavior.

The Lukola fandom, like any other, is built on the love and admiration of two actors and the unique connection they share. However, recent actions by a small group of shippers have crossed the line, overshadowing the very essence of what it means to be part of this community. Harassing the stars, their friends, and their families and co-workers goes against the principles of kindness, respect, and positivity that should define any fandom.

Furthermore, doxing and harassing other creators, just because their views differ, is deeply wrong and damaging. This behavior is not only illegal but also violates basic human decency. It tarnishes the entire fandom and hurts the very people we claim to support.

This space was meant to be a celebration of love, yet lately, it feels like some have infiltrated our ship with the intention of causing chaos and tarnishing our reputation. It's as if they are not true believers in Lukola, but rather individuals trying to stir up negativity and disrupt something beautiful. Let's not allow these disturbances to undermine the genuine passion and support that brought us all here. We need to stand united, stay positive, and protect the essence of what our fandom truly represents.

Our ship is made up of fans who love both Nicola and Luke, and recent events have led to an unacceptable amount of hate directed towards them. This needs to stop immediately. There is no Lukola without either of them, and their current or past relationships do not diminish our belief in their connection as an endgame couple. If you no longer believe in their love, you are free to disembark or go aboard another ship. Please don’t overstay and bring negativity in this Love boat that should be filled with support, positivity, and love. Let's keep our ship sailing smoothly, focused on the joy that brought us together in the first place.

Being part of the Lukola ship is about celebrating the chemistry and bond between Luke and Nicola, appreciating their talent, and sharing the joy their on-screen and off-screen interactions bring. It is not about spreading hate, attacking others, or engaging in toxic behavior. We must remember that our actions reflect on the fandom as a whole, and it’s our responsibility to ensure it remains a space of love, respect, and positive support.

Let’s refocus on the heart of why we are here to celebrate the love and connection we see, and not to bring harm or negativity into the lives of others. We can enjoy our ship while maintaining respect for everyone involved, including the actors, their loved ones, and fellow fans. Let's be better and embody the love that brought us here in the first place.

I will take some time to reflect on my actions and commit to being more mindful in the future. I pledge to not go overboard by being overly invested or overanalyzing every detail, and I will be more thoughtful about the content I share moving forward.

Let's keep our LOVE boat exciting and new.

[calciumdeficientt]

BUCKY HCS

BUCKY OH MY GAAAAAAAAAAAAAAHD. IF BUCKY HAS NO FANS IM DEAD I LOVE THAT WHITE BOY. I cried while writing these. Idk what that says about me but it definitely says something.

BUCKY PASTEUR HCS

Starting off on a very strong foot, I’m gonna explain the ‘Bucky incident’ that I mentioned in my Thad hcs post (go read that btw). So basically the nerds were playing Star Wars on the steps outside the library, with those very sturdy, screen accurate lightsabers that all the cosplayers have, and poor Bucky, bless his little heart, got far too invested in the game, lunged forwards with his lightsaber, slipped on a piece of wet moss on the steps and fell. His lightsaber broke his fall and he sort of half-impaled himself on the tip of it. He didn’t break any skin or anything, but the sturdy PVC plastic broke two of his ribs and ruptured his appendix. Poor kid.

Head builder and painter of the G&G mini figures, in his free time you can usually find him underneath Dragon’s Wing in their little lair, with one of those magnifying headset things on, painting away. He has a keen eye for detail, and it really shows. He takes great care in studying his friends character sheets and making sure the paining is reflective of their personalities, even down to the bases. He’s got great technique, from dry-brushing for shading, to colour theory and palette matching, down to hand sculpting pieces when official G&G merchandise doesn’t suffice. Sometimes he goes upstairs to get guidance from Zack but nine times out of ten its his own handiwork.

Very happy go lucky despite being beaten within an inch of his life every day. That insane amount of bullying is enough to make anyone a nihilist, but I think Bucky always finds a way to put a positive spin on everything and. That is just… so commendable. He’s a stronger man than I I’ll tell you that. He’s such a sweet kid, how could you want to pick on him when Earnest is RIGHT THERE.

Speaking of Earnest, he really really hated the whole concept of the Paparazzi mission, especially publicly showing those indecent images of Mandy. He couldn’t even fathom the idea of showing the small ones off as blackmail. He hates the jocks just as much as the next nerd, and the way Mandy treats Beatrice isn’t exactly tasteful, but he’s emotionally mature enough to know that not only was plastering those posters all over town fucking creepy, it was also a CRIME.

Does super well in Hattrick’s math class but absolutely DESPISES his way of teaching it. Hattrick has a very black and white view of maths. It’s either right or wrong, and the only way to solve problems is it do it is his way, any other solution is blatantly wrong. Bucky thinks it’s such a boring and narrow way to look at a subject that’s just bursting with possibilities. In his free time he researches pure mathematics, he thinks its such a wonderful show of the fact that maths isn’t just about practical application, but the beauty of figuring out the logical consequences of basic mathematic principles when applied to abstract objects. He finds it so wonderfully interesting.

He loves his granny so much dude (I may or may not be sobbing over this right now he’s such a fucking cutie patootie.) he goes over to her house on the weekends and has tea. She doesn’t understand half of what her grandson says but she’s happy to know that he’s growing up into a nice polite young man, and is doing well at school. He’s also kind enough to help her around the house with all the chores she has trouble doing during the week. Taking her trash out, cleaning her kitchen surfaces and vacuuming up. He’s her helpful little chipmunk, even if he’s nowhere near as chubby as he used to be when he was a baby.

[scarlet--wiccan]

Don't act dumb? Your account is literally nothing but Roma Virtue signalling. If marvel is such a racist company why interact with it? The information on your page is again incorrect. We are not a tool for you to make yourself feel better and feed your saviour complex. Just weird you really should stop speaking about and on behalf of Roma it's giving obsessed and just the most ignorant type of saviour complex and it's all in the name of marvel we truly exist outside of Marvel but idk if y'all can comprehend that.

This is really extreme and unfair. I don't want to continue this conversation, as it's clear that you're not willing to engage in good faith, and frankly, after years of being clear about my background, I don't feel like I owe anything to an anonymous user who could very well be the exact sort of troll I was just talking about. But I suppose it would be helpful to clarify some things, since nobody ever reads my old posts.

I am a second-generation American of Cale Romani descent. I identify as a white-presenting person of mixed race. I have been consistently clear about this and there are photos of me on this blog. I'm not hiding anything. I am a Marvel fan and a long-time comic book reader. This page started out as a general fandom blog, but because I happen to be gitano, I am particularly invested in Romani characters and speak often about issues of Roma representation. I don't think that's weird or hard to understand, and I do still post about other stuff. I'm not trying to be a savior or spokesperson, I'm just talking about what I know and what matters to me. I don't think that Marvel comics are wholly or irredeemably racist, nor do I think that's a productive way to approach critical consumption. This is a massive literary canon and a reflection of many different aspects of American pop culture, and I prefer to engage with it as such.

People are entitled to have different opinions and feelings about these characters, and I've acknowledged plenty of times that I don't speak for everybody-- I've even expressed anxiety about drawing too much attention to comics when I know there are Roma who're sick of hearing about it! But I don't think that it's uncommon for marginalized people to have complex relationships with flawed or problematic representation. I, personally, like these characters and see value in them, but more than that, I think it's important to initiate critical conversations about them because they're very popular now, and they're going to exist in perpetuity, whether we like it or not.

I often make it a priority to direct those conversations towards actual Romani history, because I want readers to learn more about that and to participate in allyship beyond Marvel fandom. In fact, I've repeatedly said that I think fans' tendency to tokenize these characters is detrimental on all sides, and I do post about Romani issues outside of comics, but again, this is specifically a fandom blog, so that's what I focus on. If that's not getting across to you, either you aren't actually reading my blog and you just decided to bother me unprovoked, or I'm a much worse writer than I thought.

If you don't always agree with me, that's fine, but everything I've said about Romani history and racialization is just verifiable fact. I don't think that I'm wrong to say that whitewashing and erasure are bad, and that if Marvel is going to continue making and adapting stories about Romani characters, we deserve to advocate for ourselves and demand better inclusion. I've never had to speak over or argue with other Romani people about this, because, honestly, the only people who disagree with me on this basic principle are belligerent anons like you! And I know other actual Roma who would agree with me. I have a life, and a relationship with community and culture outside of comics, but you don't see that because you don't know me, and again, this is a fandom-specific blog.

[kaibacorpintern]

So true about Kaiba being a moody dramatic Rachmaninoff piano concerto hoe lmao. Would he give Chopin a pass for ballade in g/winter winds you think, or is anyone who writes frilly little etudes automatically disqualified from the playlists on principle?

Oh god so here's my opinion as someone who played classical piano for eight years and interned at a classical music organization for a while: as the adopted son of a rich man who was (according to DM) invested in cultivating some kind of philanthropic/cultured image, Kaiba was probably dragged along to many, many classical music events as a young lad, and sat there in his penguin suit under strict orders not to fall asleep, fold the program into paper airplanes, fidget too much, or let Mokuba fidget too much. What he truly knows about classical music might fill a bucket (the four major eras, the big name composers, some basic music theory) but not a swimming pool.

Like I don't love seeing "rich people" cliches stuck on Kaiba, because his life story is far more complex than that, but I do think this one--"ultrawealthy donor attends a night at the symphony because it's a good look for them, not because they understand the intricacies of Mahler"--might apply here. He IS going to see Yuja Wang play Prokofiev, but he does not know why/how Prokofiev is important, and unless he took a dedicated interest in music (leading to your exquisite insights) he might just slap KAIBA SYMPHONIC HALL atop the arts center, mail over a check for $20mil, and be done with it Gozaburo style.

That being said, this is my answer to your question: I think he pays attention during a performance of Chopin's Tristesse (or, Ravel's Pavane por une infante défunte?) feels one too many feelings, and wants to go crawl into a dirt hole about them afterwards, like a dying animal. But he has to schmooze at the donor's club, so he can't. He is wearing a cummerbund and a bowtie, and now he is twice as miserable.

When he locks himself in his lab later, to burn the midnight oil, he listens to the Chopin again, in private, and discovers new feelings--which are actually just the old feelings, newly remembered.

Also his favorite symphony is Mahler 5. Look me in the eyes and tell me he wouldn't go ballistic for the trumpet solo.

[yungphases]

A SUGURU GETO ANALYSIS; and his connection to the different facets of motherhood.

1. THE narrative of motherhood in media

2. YIN as a symbol of femininity + it’s connection to Geto

3. GETO as the nuturer type + his cursed technique

4. Colors of a mother

a/n : going to edit the smaller details later aswell as correct mistakes and add tags

1. THE narrative of motherhood in media

Before I’ll start going on a tandem with that topic. Let’s first establish what »motherhood« is. And that it is in fact a socially constructed role and why.

In simple terms it’s basically “The state of being a mother; maternity. The qualities or spirit of a mother” — But what most people don’t understand is that »motherhood« goes beyond simple biology or instinct. History, culture, economics, and political forces are also responsible for creating the socially constructed role of »motherhood«

Adrienne Rich »Of Woman Born« (1976) and Sara Ruddick »Maternal Thinking: Toward a Politics of Peace« (1989) both different differentiate the concept of motherhood in their work.

Sara views motherhood as a social practice, involving specific intellectual and ethical work. She identifies three core dimensions of maternal work — Preserving the life of the child, fostering growth and training for social acceptability. She calls it »maternal thinking«, emphasizing empathy, responsibility, and attentive care.

She claims that motherhood is not limited to biological mothers, and that in fact could apply to anyone performing nurturing roles regardless of gender and biology.

Meanwhile Adrienne distinguishes between »motherhood: the institution, motherhood: the experience« Her focus is on the institutionalized version of motherhood.

Motherhood: The institution is structured by the patriarchy, and designed not to serve women or children, but to control and contain women's autonomy (their identities, bodies, labor, and potential.) What exactly does »institution« mean? In this context Adrienne is referring to the social, political, legal, and cultural systems, that defines and enforces motherhood in ways that benefit the male-dominated society. It reduces women to the idealized version of a mother; self-sacrificing caregivers, reinforcing their subordination and undermining women’s agency and intellectual.

Motherhood: The experience. Adrienne also addresses with her own experiences, how motherhood can be something beautiful despite it’s patriarchal influences. It can be a source of love, creativity, and connection, something that can be empowering for women rather than draining.

Another great book, that I would like to acknowledge here, before I actually get into things is Sharon Hay’s »The cultural: Contradictions of Motherhood« (1996) introduces the theory of intensive mothering due to a dominated ideology of modern motherhood in the US. She describes the core principles of »motherhood« as i. Child centered — the child and their needs are prioritized; ii. emotionally absorbing— mothers are expected to be rays of sunshine. They should be deeply emotional and express constant warmth, empathy, and nurturance; iii. labor intensive — Mothers should invest their time, energy, and attention into mothering. Again the self-sacrificing ideology is in focus here; iiii. expert guided — They are expected to follow advice from professionals rather than listening to their own intuition; v. finically expensive — Raising children requires money and financial stability; vi. performed primarily by mothers — Mothers are responsible to make sure all those ideologies are fulfilled, burdening them beyond just the physical labor that comes with pregnancy and child-birth.

Now, one thing I noticed within media and the portrayal of motherhood, they tend to emphasize the self-sacrificing nature, how women protect and prioritize their child over their own well-being, investing time and energy into mothering. A great example of this is »Gilmore Girls«. Lorelai raises Rory almost entirely on her own (Emotionally absorbing and labor intensive) since she puts her emotional energy and time into it. She embodies the role of the economic nuturer (Financially Expensive). Despite taking on the primary role of a mother, Lorelai still works to earn money to provide for her daughter to give her the best education and life experience possible. Another example is, »Parenthood« Kristina Braverman quits her job to be a stay-at-home mom and pour everything into mothering (Emotionally Absorbing and Child centered). It’s a typical neo-traditionalist role, which once again revolves around self-sacrifices, women independently resign from their jobs, give up their ambitions to focus on caregiving.

Another great example of maternal thinking, that aligns with Sara’s theory, that motherly tendencies aren’t directly linked to biology and gender, is Katniss Everdeen from »The Hunger Games«. Although Katniss is not a mother by traditional standards, her role as an older sister to Prim and as a protector and mentor to other characters demonstrate the core components of maternal thinking: preserving life, fostering growth, and social training. From the very beginning, Katniss takes on the responsibility of providing food, shelter, and safety for her younger sister after their mother becomes emotionally unavailable. This active caregiving reflects a deliberate commitment, not merely just instinctual behavior.

Beyond her family, Katniss’s protective instincts extend to Peeta Mellark and other allies during her time in the arena. She repeatedly risks her own life to preserve theirs, embodying the ethic of care central to maternal thinking. Moreover, Katniss fosters growth by teaching survival skills and encouraging resilience, helping those around her adapt to harsh and dangerous environments. Her guidance is practical and deeply attentive, reflecting Ruddick’s emphasis on intellectual and emotional labor within mothering.

However Katniss’s maternal actions emerge not from a biological imperative but from choice and circumstance.

Interestingly enough, the same ideologies can be found in more disturbing media aswell and not just TV Shows or Dystopian Movies. The movie »Barbarian« (2022) although it’s a Horror movie, it subverts the ideal of motherhood by presenting a monstrous figure known as the »Mother« who grotesquely embodies many of the principles of intensive mothering in an extreme and distorted way. Barbarian challenges the romanticized notion of maternal purity and selflessness, by taking a patriarchal ideology and turning it into something monstrous.

The "Mother" is a result of generations of abuse and isolation. Still despite the brutality of her circumstances, she obsessively cares for and attempts to nurture the people she captures, treating them as her babies and mirroring the extreme cultural demand that mothers must sacrifice everything; their identity, their autonomy, even reason in the name of child-centered care.

Furthermore the Mother never rests, she is always present, and her entire existence is dedicated to caregiving. Although it's obviously unwanted and horrifying. Her nurturing is distorted, but rooted in the same logic of total maternal devotion, embodying how emotional intensive motherhood is according to the named resources. In contrast to the Mother, the male characters (especially AJ, the Hollywood producer) reflects the gender imbalance in caregiving and responsibility. While the men are selfish, abusive, or detached. Is the Mother hyper-attached, obsessively so and bound to the domestic, maternal ideology, even when she is terrifying.

2. YIN as a symbol of femininity and it’s connection to Geto

We are finally getting to the main point of that entire analysis; Suguru Geto. To understand this, let’s talk about the general concept of Yin and Yang. Yin and Yang coexist, they are there to balance each other out. In other words they are complementary opposites.

The belief of Yin and Yang is rooted in Chinese philosophy, particularly in Taoism. Yin represents qualities such as receptivity, darkness, stillness, intuition, emotion, the moon, and nurturing. It is traditionally associated with the feminine principle. Whilst yang is associated with masculinity, activity, brightness, logic, and assertion.

Geto’s motivations are deeply rooted in emotional trauma and disillusionment. Especially his existential crisis about the jujutsu world and the treatment of non-sorcerers. Yin’s energy often relates to inner turmoil, reflection, and sensitivity. Unlike Gojo, who is more action-oriented (yang), Geto turns inward and radicalizes himself based on internal moral conclusions. Geto spirals, he moves toward darkness; not only morally (from a societal perspective) but literally into hidden spaces, secrecy, and death (i.e He disappears for 10 years to lead a cult). His actions come from a place of quiet conviction rather than outward dominance, mirroring the yin’s tendency toward subtle influence over explosive power.

In Taoist cosmology, yin is connected to the womb and the cycle of death and rebirth. Geto’s “death” and his eventual possession by Kenjaku (who was a literal mother) can be viewed as a metaphorical yin cycle; ending, emptiness, and rebirth through another being. Geto forms a "family" with his fellow cursed users. Yin’s energy often manifests through group identity, maternalism, and bonding, even if distorted. He takes in the rejected, the outcasts—resembling a twisted maternal archetype offering protection through his ideology.

And this exactly where his nurturing and caring side shines through, even as a curse user Geto cares deeply for his fellow sorcerers and curse users. We have seen that side before he fell off the deep-end; his protective and compassionate nature. His main belief is that the strong should protect the weak, and this idea shapes who he is, who he wants to be before and after the Hidden Inventory Arc. Geto embodies the ideologies of motherhood, particularly the

3. GETO as the nuturer type + his cursed technique

His technique is a prime example for that. It is aligned with Yin (femininity) as he consumes curses and houses them in his body (womb). In addition to that, we know it makes him sick, yet he still does it because it’s what jujutsu society expects of him, because he was born with that ability. In a way it mirrors the way patriarchy expects women to become mothers, it doesn’t matter if pregnancy makes them sick or even kills them, they were born with the ability to have children in the eyes of society, so they are obligated to have them. It is emotionally absorbing given that curses are a result of negative emotions, yet Geto consumes them and yet he expresses himself to be deeply empathetic, to the point that he loses himself in his empathy.

4. GETO and his connection with the book colors of a mother

Geto reading a “Colors of a mother”, a book that celebrates the diverse and multifaceted nature of motherhood through the lens of colors and words isn’t just because of his daughters or his connection to motherhood. I believe that he’s actually reading it because of his own mother, because his relationship with her was probably so close that even after he killed her, he still wants to understand and learn about motherhood.

The book that celebrates the diverse and multifaceted nature of motherhood through the lens of colors and words. It's described as a tribute to mothers and mother figures, offering a universal message of love and care to both children and those who nurture them. The book explores how different colors can represent the various emotions, qualities, and experiences associated with motherhood, such as protection (green), optimism (yellow), compassion (pink), and passion (red). “Colors of a Mother" is intended to be both a sweet story for children and a meaningful gift for adults who cherish their mothers or mother figures. It aims to foster a sense of appreciation and gratitude for the love and care that mothers provide. The book is described as deeply moving and heart-touching, often evoking a range of emotions from joy to sadness. The book is also a testament to the universal nature of motherhood, highlighting how the love and care of a mother figure can be transformative and inspiring, regardless of age or background.

Geto is a man, yet he displays maternal tendencies regardless of his gender and biology, yet he’s connected to Yin. Yet he’s still doomed because of something he was born with, put into a oppressive system (the Jujutsu System). It is such such a tragic irony.

[gardeningloverfamily]

Introduction to Gardening for Beginners

Gardening is a rewarding and therapeutic hobby that can transform your outdoor or indoor space into a thriving sanctuary of plants, flowers, and vegetables. Whether you aim to create an English cottage garden, grow organic flowers, or cultivate a vegetable garden, starting as a beginner can be both exciting and overwhelming. This guide will walk you through the best way to start a garden, covering everything from selecting plants to understanding garden design principles.

Understanding Your Space

Before you begin planting, it's crucial to understand the space you have available. Whether you're planning an indoor garden, an English cottage garden, or a vegetable garden, the key is to assess the light, soil, and space conditions.

Indoor Gardens

For those interested in indoor gardening, consider the amount of natural light your home receives. South-facing windows are ideal for most houseplants, providing ample light throughout the day. If your space lacks natural light, consider investing in grow lights.

Outdoor Gardens

Outdoor gardening requires an assessment of your yard or garden plot. Observe how much sunlight different areas receive, noting which spots are in full sun, partial shade, or full shade. This information will guide your plant selection, ensuring you choose plants suited to your garden's conditions.

Choosing the Right Plants

Selecting the right plants is vital for a successful garden. As a beginner, start with plants that are easy to grow and maintain.

Easy Indoor Plants

Spider Plant: Hardy and adaptable, perfect for beginners.

Pothos: Low maintenance and can thrive in low light.

Snake Plant: Tolerant of neglect and ideal for low light conditions.

Succulents: Require minimal watering and are great for sunny windowsills.

Easy Outdoor Plants

Marigolds: Bright, cheerful flowers that are easy to grow from seed.

Sunflowers: Fast-growing and visually striking.

Lettuce: Quick to grow and perfect for salads.

Tomatoes: Popular and rewarding, providing fresh produce for your kitchen.

Garden Design Principles

Designing your garden involves more than just planting; it requires planning and understanding some basic design principles.

English Cottage Garden

An English cottage garden is characterized by its informal, densely planted flower beds. To achieve this look, mix various flowers, herbs, and vegetables, ensuring a continuous bloom throughout the growing season.

Plant Variety: Combine perennials, annuals, and biennials for a dynamic and colorful display.

Pathways: Create charming, winding paths using natural materials like stone or gravel.

Focal Points: Incorporate elements like arbors, benches, or birdbaths to add interest and structure.

Vegetable Garden

A vegetable garden can be both beautiful and productive. Consider the following tips:

Raised Beds: Ideal for beginners as they improve drainage, reduce weeds, and make planting and harvesting easier.

Companion Planting: Grow plants together that benefit each other, such as tomatoes with basil or carrots with onions.

Succession Planting: Maximize your garden’s yield by planting different crops in the same area throughout the year.

Gardening Tools and Supplies

Having the right tools can make gardening more enjoyable and efficient. Here are some essential gardening tools for beginners:

Hand Trowel: Perfect for planting and transplanting small plants.

Pruning Shears: Essential for trimming and shaping plants.

Garden Gloves: Protect your hands from thorns, dirt, and blisters.

Watering Can/Hose: Ensure your plants get adequate water, especially during dry spells.

Garden Fork: Useful for turning soil and mixing in compost.

Preparing the Soil

Healthy soil is the foundation of a thriving garden. Here’s how to prepare your soil:

Test Your Soil: Determine your soil’s pH and nutrient levels using a soil test kit.

Amend the Soil: Based on your soil test results, add compost, manure, or other organic matter to improve soil fertility and structure.

Mulching: Apply a layer of mulch to conserve moisture, suppress weeds, and regulate soil temperature.

Planting Techniques

Understanding proper planting techniques will ensure your plants establish well and thrive.

Spacing: Follow the recommended spacing guidelines for each plant to prevent overcrowding and promote healthy growth.

Planting Depth: Ensure seeds and transplants are planted at the correct depth, typically indicated on seed packets or plant tags.

Watering: Water your plants thoroughly after planting to help them settle into their new environment.

Caring for Your Garden

Regular maintenance is crucial for a healthy and productive garden. Here are some tips for ongoing garden care:

Watering: Consistent watering is essential, especially for young plants. Water in the early morning or late afternoon to reduce evaporation.

Weeding: Regularly remove weeds to reduce competition for nutrients and water.

Fertilizing: Feed your plants with organic fertilizers according to their specific needs.

Pest Control: Monitor for pests and diseases. Use organic pest control methods, such as introducing beneficial insects or using natural sprays.

Indoor Plant Care

For indoor plants, consider the following care tips:

Lighting: Ensure your plants receive the appropriate amount of light. Rotate plants regularly for even growth.

Watering: Avoid overwatering by checking soil moisture before watering. Most houseplants prefer to dry out slightly between waterings.

Humidity: Increase humidity for tropical plants by misting them or placing them on a humidity tray.

Repotting: Repot your plants when they outgrow their containers to provide more space for root growth.

Creating a Sustainable Garden

Sustainability is becoming increasingly important in gardening. Here are some ways to create an eco-friendly garden:

Composting: Recycle kitchen scraps and garden waste to create nutrient-rich compost.

Rainwater Harvesting: Collect rainwater in barrels to reduce water usage.

Native Plants: Choose native plants that are adapted to your local climate and require less maintenance.

Organic Practices: Avoid synthetic chemicals and opt for organic fertilizers and pest control methods.

Inspiration from Botanical Gardens

Visiting botanical gardens can provide inspiration and ideas for your own garden. Here are some famous botanical gardens to explore:

Royal Botanic Gardens, Kew (UK): Known for its diverse plant collections and stunning landscapes.

New York Botanical Garden (USA): Offers a wide variety of plant species and themed gardens.

Singapore Botanic Gardens (Singapore): Features tropical flora and the iconic National Orchid Garden.

Butchart Gardens (Canada): Famous for its beautifully designed flower displays and themed gardens.

Connecting with the Gardening Community

Joining the gardening community can provide support, advice, and inspiration. Here are some ways to connect:

Local Gardening Clubs: Join clubs to meet other gardeners and participate in events and workshops.

Online Forums: Engage in online gardening forums and social media groups like the #houseplantcommunity or #gardeningtips.

Garden Shows: Attend garden shows and expos to learn from experts and discover new plants and tools.

Conclusion

Starting a garden as a beginner can be a fulfilling journey that enhances your connection with nature and provides a sense of accomplishment. By understanding your space, choosing the right plants, designing thoughtfully, using proper tools, and maintaining your garden diligently, you can create a beautiful and thriving garden. Embrace the learning process, seek inspiration, and connect with the gardening community to grow your gardening skills and enjoy the many benefits this hobby offers.

Additional Tips and Resources

To further assist you on your gardening journey, here are some additional tips and resources:

Gardening Books for Beginners

"The Vegetable Gardener's Bible" by Edward C. Smith: Comprehensive guide on growing vegetables.

"The Flower Gardener's Bible" by Lewis Hill and Nancy Hill: Detailed instructions on flower gardening.

"Indoor Gardening: The Ultimate Beginner's Guide to Grow Beautiful Plants in Your Home" by Leslie F. Halleck: Focuses on indoor gardening techniques.

Gardening Magazines and Websites

Garden Gate Magazine: Offers gardening tips, plant profiles, and design ideas.

Fine Gardening: Provides expert advice on all aspects of gardening.

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[dailyanarchistposts]

B.1 Why are anarchists against authority and hierarchy?

First, it is necessary to indicate what kind of authority anarchism challenges. While it is customary for some opponents of anarchism to assert that anarchists oppose all kinds of authority, the reality of the situation is more complex. While anarchists have, on occasion, stated their opposition to “all authority” a closer reading quickly shows that anarchists reject only one specific form of authority, what we tend to call hierarchy (see section H.4 for more details). This can be seen when Bakunin stated that “the principle of authority” was the “eminently theological, metaphysical and political idea that the masses, always incapable of governing themselves, must submit at all times to the benevolent yoke of a wisdom and a justice, which in one way or another, is imposed from above.” [Marxism, Freedom and the State, p. 33]

Other forms of authority are more acceptable to anarchists, it depends whether the authority in question becomes a source of power over others or not. That is the key to understanding the anarchist position on authority — if it is hierarchical authority, then anarchists are against it.. The reason is simple:

”[n]o one should be entrusted with power, inasmuch as anyone invested with authority must … became an oppressor and exploiter of society.” [Bakunin, The Political Philosophy of Bakunin, p. 249]

This distinction between forms of authority is important. As Erich Fromm pointed out, “authority” is “a broad term with two entirely different meanings: it can be either ‘rational’ or ‘irrational’ authority. Rational authority is based on competence, and it helps the person who leans on it to grow. Irrational authority is based on power and serves to exploit the person subjected to it.” [To Have or To Be, pp. 44–45] The same point was made by Bakunin over 100 years earlier when he indicated the difference between authority and “natural influence.” For Bakunin, individual freedom “results from th[e] great number of material, intellectual, and moral influences which every individual around him [or her] and which society … continually exercise … To abolish this mutual influence would be to die.” Consequently, “when we reclaim the freedom of the masses, we hardly wish to abolish the effect of any individual’s or any group of individual’s natural influence upon the masses. What we wish is to abolish artificial, privileged, legal, and official influences.” [The Basic Bakunin, p. 140 and p. 141]

It is, in other words, the difference between taking part in a decision and listening to alternative viewpoints and experts (“natural influence”) before making your mind up and having a decision made for you by a separate group of individuals (who may or may not be elected) because that is their role in an organisation or society. In the former, the individual exercises their judgement and freedom (i.e. is based on rational authority). In the latter, they are subjected to the wills of others, to hierarchical authority (i.e. is based on irrational authority). This is because rational authority “not only permits but requires constant scrutiny and criticism … it is always temporary, its acceptance depending on its performance.” The source of irrational authority, on the other hand, “is always power over people … Power on the one side, fear on the other, are always the buttresses on which irrational authority is built.” Thus former is based upon “equality” while the latter “is by its very nature based upon inequality.” [Erich Fromm, Man for Himself, pp. 9–10]

This crucial point is expressed in the difference between having authority and being an authority. Being an authority just means that a given person is generally recognised as competent for a given task, based on his or her individual skills and knowledge. Put differently, it is socially acknowledged expertise. In contrast, having authority is a social relationship based on status and power derived from a hierarchical position, not on individual ability. Obviously this does not mean that competence is not an element for obtaining a hierarchical position; it just means that the real or alleged initial competence is transferred to the title or position of the authority and so becomes independent of individuals, i.e. institutionalised (or what Bakunin termed “official”).

This difference is important because the way people behave is more a product of the institutions in which we are raised than of any inherent nature. In other words, social relationships shape the individuals involved. This means that the various groups individuals create have traits, behaviours and outcomes that cannot be understood by reducing them to the individuals within them. That is, groups consist not only of individuals, but also relationships between individuals and these relationships will affect those subject to them. For example, obviously “the exercise of power by some disempowers others” and so through a “combination of physical intimidation, economic domination and dependency, and psychological limitations, social institutions and practices affect the way everyone sees the world and her or his place in it.” This, as we discuss in the next section, impacts on those involved in such authoritarian social relationships as “the exercise of power in any institutionalised form — whether economic, political or sexual — brutalises both the wielder of power and the one over whom it is exercised.” [Martha A. Ackelsberg, Free Women of Spain, p. 41]

Authoritarian social relationships means dividing society into (the few) order givers and (the many) order takers, impoverishing the individuals involved (mentally, emotionally and physically) and society as a whole. Human relationships, in all parts of life, are stamped by authority, not liberty. And as freedom can only be created by freedom, authoritarian social relationships (and the obedience they require) do not and cannot educate a person in freedom — only participation (self-management) in all areas of life can do that. “In a society based on exploitation and servitude,” in Kropotkin’s words, “human nature itself is degraded” and it is only “as servitude disappears” shall we “regain our rights.” [Anarchism, p. 104]

Of course, it will be pointed out that in any collective undertaking there is a need for co-operation and co-ordination and this need to “subordinate” the individual to group activities is a form of authority. Therefore, it is claimed, a democratically managed group is just as “authoritarian” as one based on hierarchical authority. Anarchists are not impressed by such arguments. Yes, we reply, of course in any group undertaking there is a need make and stick by agreements but anarchists argue that to use the word “authority” to describe two fundamentally different ways of making decisions is playing with words. It obscures the fundamental difference between free association and hierarchical imposition and confuses co-operation with command (as we note in section H.4, Marxists are particularly fond of this fallacy). Simply put, there are two different ways of co-ordinating individual activity within groups — either by authoritarian means or by libertarian means. Proudhon, in relation to workplaces, makes the difference clear:

“either the workman… will be simply the employee of the proprietor-capitalist-promoter; or he will participate… [and] have a voice in the council, in a word he will become an associate. “In the first case the workman is subordinated, exploited: his permanent condition is one of obedience… In the second case he resumes his dignity as a man and citizen… he forms part of the producing organisation, of which he was before but the slave; as, in the town, he forms part of the sovereign power, of which he was before but the subject … we need not hesitate, for we have no choice… it is necessary to form an ASSOCIATION among workers … because without that, they would remain related as subordinates and superiors, and there would ensue two … castes of masters and wage-workers, which is repugnant to a free and democratic society.” [General Idea of the Revolution, pp. 215–216]

In other words, associations can be based upon a form of rational authority, based upon natural influence and so reflect freedom, the ability of individuals to think, act and feel and manage their own time and activity. Otherwise, we include elements of slavery into our relationships with others, elements that poison the whole and shape us in negative ways (see section B.1.1). Only the reorganisation of society in a libertarian way (and, we may add, the mental transformation such a change requires and would create) will allow the individual to “achieve more or less complete blossoming, whilst continuing to develop” and banish “that spirit of submission that has been artificially thrust upon him [or her]” [Nestor Makhno, The Struggle Against the State and Other Essays, p. 62]

So, anarchists “ask nothing better than to see [others]… exercise over us a natural and legitimate influence, freely accepted, and never imposed … We accept all natural authorities and all influences of fact, but none of right.” [Bakunin, The Political Philosophy of Bakunin, p. 255] Anarchist support for free association within directly democratic groups is based upon such organisational forms increasing influence and reducing irrational authority in our lives. Members of such organisations can create and present their own ideas and suggestions, critically evaluate the proposals and suggestions from their fellows, accept those that they agree with or become convinced by and have the option of leaving the association if they are unhappy with its direction. Hence the influence of individuals and their free interaction determine the nature of the decisions reached, and no one has the right to impose their ideas on another. As Bakunin argued, in such organisations “no function remains fixed and it will not remain permanently and irrevocably attached to one person. Hierarchical order and promotion do not exist… In such a system, power, properly speaking, no longer exists. Power is diffused to the collectivity and becomes the true expression of the liberty of everyone.” [Bakunin on Anarchism, p. 415]

Therefore, anarchists are opposed to irrational (e.g., illegitimate) authority, in other words, hierarchy — hierarchy being the institutionalisation of authority within a society. Hierarchical social institutions include the state (see section B.2), private property and the class systems it produces (see section B.3) and, therefore, capitalism (see section B.4). Due to their hierarchical nature, anarchists oppose these with passion. “Every institution, social or civil,” argued Voltairine de Cleyre, “that stands between man [or woman] and his [or her] right; every tie that renders one a master, another a serf; every law, every statue, every be-it-enacted that represents tyranny” anarchists seek to destroy. However, hierarchy exists beyond these institutions. For example, hierarchical social relationships include sexism, racism and homophobia (see section B.1.4), and anarchists oppose, and fight, them all. Thus, as well as fighting capitalism as being hierarchical (for workers “slave in a factory,” albeit “the slavery ends with the working hours”) de Cleyre also opposed patriarchal social relationships which produce a “home that rests on slavery” because of a “marriage that represents the sale and transfer of the individuality of one of its parties to the other!” [The Voltairine de Cleyre Reader, p. 72, p. 17 and p. 72]

Needless to say, while we discuss different forms of hierarchy in different sections this does not imply that anarchists think they, and their negative effects, are somehow independent or can be easily compartmentalised. For example, the modern state and capitalism are intimately interrelated and cannot be considered as independent of each other. Similarly, social hierarchies like sexism and racism are used by other hierarchies to maintain themselves (for example, bosses will use racism to divide and so rule their workers). From this it follows that abolishing one or some of these hierarchies, while desirable, would not be sufficient. Abolishing capitalism while maintaining the state would not lead to a free society (and vice versa) — if it were possible. As Murray Bookchin notes:

“there can be a decidedly classless, even a non-exploitative society in the economic sense that still preserves hierarchical rule and domination in the social sense — whether they take the form of the patriarchal family, domination by age and ethnic groups, bureaucratic institutions, ideological manipulation or a pyramidal division of labour … classless or not, society would be riddles by domination and, with domination, a general condition of command and obedience, of unfreedom and humiliation, and perhaps most decisively, an abortion of each individual’s potentiality for consciousness, reason, selfhood, creativity, and the right to assert full control over her or his daily live.” [Toward an Ecological Society, pp. 14–5]

This clearly implies that anarchists “challenge not only class formations but hierarchies, not only material exploitation but domination in every form.” [Bookchin, Op. Cit., p. 15] Hence the anarchist stress on opposing hierarchy rather than just, say, the state (as some falsely assert) or simply economic class and exploitation (as, say, many Marxists do). As noted earlier (in section A.2.8), anarchists consider all hierarchies to be not only harmful but unnecessary, and think that there are alternative, more egalitarian ways to organise social life. In fact, we argue that hierarchical authority creates the conditions it is presumably designed to combat, and thus tends to be self-perpetuating. Thus hierarchical organisations erode the ability of those at the bottom to manage their own affairs directly so requiring hierarchy and some people in positions to give orders and the rest to follow them. Rather than prevent disorder, governments are among its primary causes while its bureaucracies ostensibly set up to fight poverty wind up perpetuating it, because without poverty, the high-salaried top administrators would be out of work. The same applies to agencies intended to eliminate drug abuse, fight crime, etc. In other words, the power and privileges deriving from top hierarchical positions constitute a strong incentive for those who hold them not to solve the problems they are supposed to solve. (For further discussion see Marilyn French, Beyond Power: On Women, Men, and Morals, Summit Books, 1985).

[unpluggedfinancial]

Think or Sink: Why Developing Critical Thinking Is Your Best Investment

In a world drowning in information, learning to think clearly might just be your life raft. We live amidst a relentless storm of headlines, opinions, and narratives—all competing for our attention and trust. Without the ability to think critically, we're left vulnerable, drifting wherever the current takes us. But there's another way.

The Critical Gap

When we rely solely on external "experts" or mainstream sources, we outsource our understanding to others who may have hidden agendas or biases. I learned this firsthand when I dove into Bitcoin. What mainstream narratives painted as a risky gamble, I saw differently by digging deeper. It became clear that true understanding only emerges when you're willing to ask questions, challenge assumptions, and verify facts independently.

Bitcoin: Your Gateway to Clear Thinking

Exploring Bitcoin isn't just about finance—it's a powerful introduction to critical thinking. Bitcoin demands that you question established narratives, verify information yourself, and reject blind faith. Its fundamental mantra—"Don't trust, verify"—is a guiding principle anyone can apply beyond finance, into politics, health, or daily decision-making.

Escaping the Herd Mentality

History is littered with the wreckage of groupthink—housing bubbles, dot-com crashes, financial meltdowns. Each catastrophe was fueled by collective blindness. Those who thrived were individuals who trusted their analysis over the noise. Critical thinking isn't just about knowing what to trust; it's about knowing when and how to break free from collective illusions.

First Principles Thinking: The Master Key

Imagine dismantling a complex puzzle down to its simplest pieces, then rebuilding it from scratch—that's first-principles thinking. Elon Musk leveraged this method to revolutionize industries from space travel to electric vehicles, rejecting conventional wisdom in favor of foundational truths. Applying first principles to Bitcoin or finance means asking:

"What is money at its core?"

"What truly gives something value?"

By returning to these fundamental questions, you'll find clarity amidst confusion. Bitcoin, for example, emerges naturally as sound money due to its scarcity, decentralization, and transparency—principles deeply rooted in basic truths.

Sharpen Your Mind: Actionable Steps

Developing critical thinking is like building a muscle—it takes consistent effort:

Question everything—especially your own beliefs.

Diversify your sources; challenge your views with opposing ideas.

Regularly reflect: are these thoughts genuinely yours?

Stay mentally flexible; embrace being wrong as a growth opportunity.

Your Future Depends on It

Critical thinking isn't just an intellectual exercise; it's your ultimate personal currency, empowering you to navigate complexity with confidence. In an uncertain future, those who sharpen their minds today will lead tomorrow.

The world won't slow down. Will you choose to drift along—or take control?

Think or sink—the choice is yours.

Take Action Towards Financial Independence

If this article has sparked your interest in the transformative potential of Bitcoin, there’s so much more to explore! Dive deeper into the world of financial independence and revolutionize your understanding of money by following my blog and subscribing to my YouTube channel.

🌐 Blog: Unplugged Financial Blog Stay updated with insightful articles, detailed analyses, and practical advice on navigating the evolving financial landscape. Learn about the history of money, the flaws in our current financial systems, and how Bitcoin can offer a path to a more secure and independent financial future.

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👍 Like, subscribe, and hit the notification bell to stay updated with our latest content. Whether you’re a seasoned investor, a curious newcomer, or someone concerned about the future of your financial health, our community is here to support you on your journey to financial independence.

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Support the Cause

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[skogakust]

Floodgates of Fact: Ditching the Waterproof vs. Water-Resistant Confusion

Picture this: you've meticulously packed for your weekend hike, including that expensive camera and your essential navigation device. The forecast predicted sunshine, but halfway up the trail, the heavens open. You scramble to protect your bag, remembering it was labelled "water-protected." But as the downpour continues, a sinking feeling washes over you – much like the water now potentially seeping into your gear. This scenario is painfully common, largely because the terms "waterproof" and "water-resistant" are often used interchangeably or vaguely in marketing, leading to drenched disappointment. It's time to build a dam against this flood of misinformation, understand the real differences, and ensure your gear truly matches your needs.

Let's begin with the more common, and often less protective, term: water-resistant. Think of water-resistance as a basic shield, capable of handling light encounters with moisture. This property usually comes from the fabric's structure itself – tightly woven materials like nylon or polyester naturally shed some water. Frequently, these fabrics are also treated with a DWR (Durable Water Repellent) finish. This chemical coating encourages water to bead up and roll off the surface, preventing the fabric from immediately saturating. This level of protection is adequate for light mist, accidental spills, brief, light rain showers, or maybe damp conditions like morning dew. However, the key limitations are pressure and duration. Under sustained rainfall, windy conditions driving rain sideways, or any significant water pressure (like setting the bag down in a puddle), water will eventually penetrate. Furthermore, the seams on water-resistant items are typically just stitched, leaving minuscule holes, and the zippers are rarely designed to block water ingress. So, while that stylish commuter bag might suffice for a quick dash through drizzle, if you're venturing into territory known for unpredictable weather or engaging in activities near water, relying solely on water-resistance could leave your valuables vulnerable. For genuine peace of mind on longer treks or in wetter climates, investing in a dedicated Waterproof Backpack becomes less of a luxury and more of a necessity for safeguarding your gear.

Now, let's elevate the protection level to waterproof. When a product genuinely earns the waterproof label, it signifies a much higher degree of protection, designed to create an effective barrier against water entry under specific, often more demanding, conditions. This isn't just about the fabric weave; it involves specialized materials and construction techniques. Common waterproof materials include PVC (Polyvinyl Chloride), TPU (Thermoplastic Polyurethane), or fabrics like nylon or polyester coated with waterproof membranes (like Gore-Tex, though less common in bags than apparel) or heavy waterproof coatings. The critical differentiator lies in the construction, especially the seams and closures. True waterproof gear will feature seams that are either taped (a waterproof tape is applied over the stitched seam on the interior) or, for maximum integrity, welded (using heat or ultrasonic frequencies to fuse the material edges together, creating a seamless, impenetrable bond). Zippers are another crucial element; standard zippers are a major point of water entry. Waterproof items will either employ specialized waterproof zippers (often rubberized or featuring interlocking teeth designs like TIZIP or YKK AquaGuard) or, very commonly for bags and sacks, utilize a roll-top closure. When rolled down correctly (typically three or more folds) and buckled, this system creates a highly effective seal against water, even during brief submersions. A well-constructed Waterproof Waist Bag employing these principles is ideal for activities like fishing, kayaking, or even attending a rainy outdoor festival, ensuring your phone, keys, and wallet remain perfectly dry despite splashes or downpours.

To quantify these levels of protection more objectively, the industry often relies on the IP (Ingress Protection) rating system. This internationally recognized standard provides a clearer picture of how well an enclosure protects against intrusion from solids (first digit, often 'X' if untested) and liquids (second digit). For water protection, the second digit is key. For instance:

IPX4: Protects against splashing water from any direction (common for water-resistant gear).

IPX5: Prevents water jets from coming from any angle.

IPX6: Protects against powerful water jets.

IPX7: Protects against temporary immersion in water (up to 1 meter for 30 minutes).

IPX8: Protects against continuous immersion in water under conditions specified by the manufacturer (often deeper than 1 meter and/or for longer durations). When you are seriously considering activities like multi-day river trips, sailing, or any scenario where your gear might end up fully submerged, searching for the Best Dry Bags with high IP ratings like IPX7 or IPX8 is paramount. These ratings provide assurance that the bag is designed and tested to withstand complete submersion, keeping contents bone dry even if the bag goes overboard.

Mythbusters: Clearing the Waters of Confusion

Let's directly address some common myths surrounding these terms:

Myth: "Water-resistant offers decent protection, it's just slightly less effective than waterproof." Busted: This minimizes a crucial difference. Water-resistant handles light and brief moisture exposure. Waterproof provides a robust barrier against sustained rain, significant splashes, and often submersion. The performance gap is substantial, and mistaking one for the other can lead to significant water damage.

Myth: "If the tag says 'waterproof,' it means I can dunk it underwater indefinitely." Busted: "Waterproof" is not a monolithic standard without context. A rain jacket might be waterproof against falling rain due to fabric and taped seams but will leak heavily through zippers and openings if submerged. Always look for specific capabilities – does it mention submersion? Does it have an IPX7 or IPX8 rating? A roll-top dry bag designed for submersion is fundamentally different from a jacket designed only to shed rain.

Myth: "The fabric is waterproof, therefore the entire bag must be waterproof." Busted: Waterproof fabric is only one component. If the seams are merely stitched (leaving needle holes) and the closures (zippers, drawstrings) aren't specifically designed to block water, the bag will leak. Construction quality, particularly seam sealing and closure type, is just as important, if not more so, than the base material itself.

Myth: "My bag has a DWR coating, so it's effectively waterproof." Busted: A DWR finish is excellent for enhancing water resistance. It makes water bead and roll off initially. However, DWR coatings wear off with use, abrasion, dirt, and washing, requiring reapplication. Critically, DWR alone does not create a waterproof barrier capable of withstanding pressure or prolonged exposure. It's a surface treatment, not inherent structural protection.

Why Understanding the Difference is Crucial

Getting this right goes beyond just preventing a bit of dampness:

Protecting Investments: Electronics like phones, cameras, GPS units, laptops, and even power banks are highly susceptible to water damage, which is often irreparable and expensive.

Ensuring Safety & Comfort: Wet clothing or sleeping bags in the backcountry can lead to discomfort at best, and dangerous hypothermia at worst. Keeping essential safety gear dry (first aid kit, fire starter) is critical.

Saving Money Long-Term: Investing in genuinely waterproof gear appropriate for your activities prevents the costly replacement of water-damaged items down the line.

Matching Gear to Activity: A city commuter has different needs than a whitewater rafter. Choosing the right level of protection ensures your gear performs reliably when you need it most.

Navigating Your Purchase: Tips for Smart Selection

Scrutinize Descriptions: Look beyond marketing buzzwords. Check for details on materials (PVC, TPU, coated fabrics), seam construction (taped, welded), closure type (roll-top, waterproof zipper model), and any IP ratings provided.

Prioritize IP Ratings for Submersion: If keeping gear dry during potential immersion is non-negotiable, focus on products explicitly stating an IPX7 or IPX8 rating.

Assess Your True Needs: Be realistic about the wettest conditions you're likely to encounter. Occasional light rain demands less than multi-day expeditions in monsoon season or watersports.

Examine in Person (If Possible): Feel the material. Look closely at the seams – can you see tape on the inside? Is the zipper robust and sealed? Does the roll-top feel substantial and seal tightly?

Stay Dry and Informed with Skog Å Kust

The difference between water-resistant and waterproof isn't just technical jargon; it's the difference between dry, functional gear and a potentially ruined trip or damaged valuables. By arming yourself with knowledge about materials, construction, IP ratings, and common myths, you can cut through the marketing haze and make informed decisions. Don't let misinformation soak your adventures. Choose gear that truly meets the demands of your environment and activities.

At Skog Å Kust, we are passionate about enabling adventures, big and small, by providing reliable, genuinely waterproof gear you can trust. From robust dry bags to functional backpacks and convenient waist bags, our products are designed and built with high-quality materials and proven waterproof construction techniques because we know that dependable gear is essential for peace of mind when you're exploring the great outdoors, rain or shine. Choose knowledge, choose quality, and keep your adventures going.